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THE AMERICAN ART ASSOCIATION: 
_ DESIGNS ITS CATALOGUES AND DIRECTS 
an ALL DETAILS OF ILLUSTRATION = 
TEXT AND TYPOGRAPHY 
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ON PUBLIC EXHIBITION 


AT THE AMERICAN ART GALLERIES ( 
MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE, 6 EAST 23rp STREET 


BEGINNING THURSDAY, APRIL 5ru, 1917 


MASTERPIECES OF ENGRAVERS AND ETCHERS 


THE PRINT COLLECTION OF THE LATE 
J. HARSEN PURDY, OF NEw york CITY 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


mY ORDER OF ALBERT W. PROSS, ESQ., AND 
THE NEW YORK TRUST COMPANY, AS EXECUTORS 


ON TUESDAY AND WEDNESDAY EVENINGS 
APRIL 10TH AND 111Tu, 1917 
AT 8:00 O’CLOCK IN THE EVENINGS 


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EXCEPTIONAL EXAMPLES OF THE MASTERS 
OF ETCHING AND ENGRAVING 
THE PRINT COLLECTION OF THE LATE 
J. HARSEN PURDY, OF NEw yorK ciITy 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


BY ORDER OF ALBERT W. PROSS, ESQ., AND 
THE NEW YORK TRUST COMPANY, AS EXECUTORS 
meee AY ANID WEDNESDAY, APRIL 10TH AND 11TH 
AT 8:00 O0’CLOCK IN THE EVENINGS 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK CITY 
1917 


INTRODUCTORY NOTICE REGARDING THE PRINT- 
COLLECTION OF THE LATE MR. J. HARSEN PURDY 
OF NEW YORK CITY 


In collecting the engravings and etchings herein described, the late 
Mr, Purdy showed the same clear judgment and keen desire to procure 
only the best obtainable copies as he displayed in the choice of his library. 
The “Masters” who interested him most were of various schools, and date, 
from the latter part of the fifteenth century, when Albrecht Diirer reigned 
supreme among the German engravers, down through the highest devel- 
opment of the art of English portrait engraving in mezzotint, to the 
modern “Master” of etchers—James Abbott McNeill Whistler. 

Many of the plates are in “Collector’s” state, including PROOFS 
BEFORE ALL LETTERS and SIGNED ARTIST’s PROOFs, the impressions in most 
cases being of UNUSUAL BRILLIANCY. 

Among the more noted examples of the works of Albrecht Diirer 
are beautiful impressions of :—‘‘St. Jerome in His Cell,” ONE OF THE 
CHOICEST PIECES OF THE COLLECTION; “Knight, Death and the Devil;” 
“Virgin with Long Hair;” “St. George Standing;” “The Dream;” “The 
Standard Bearer; “Effects of Jealousy;” “Coat of Arms with the 
Cock;” and “Coat of Arms with the Scull.” 

ANDREA MANTEGNA’S plate of “The Battle of the Sea-Gods,”’ 
a beautiful impression, showing plate-mark and margins on all sides, can 
perhaps be classed as the “‘Gem of the collection,” being an absolutely 
unique impression. 

REMBRANDT VAN RIJN is represented by several etchings, in- 
cluding fine impression of—“‘The Triumph of Mordecai;” “View of Am- 
sterdam;”’ and “‘Rembrandt and Saskia.”’ 

Among the more noted mezzotint engravers and their work, the fol- 
lowing bear special mention,—Wixuiam Dickrnson’s “Mrs. Gwynne and 
Mrs. Bunbury;” beautiful impression of the first state; Joun Frnuay- 
son’s “William Drummond,” and “Maria, Duchess of Gloucester,” both 
beautiful impressions of the first state; Joun JoneEs’s “James Boswell” 


and “Black Monday,” the latter, an OPEN-LETTER PROOF; GEORGE 


bee ‘ 
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Keatine’s “Nurse and Children in the Field; Jounx StmMon’s “Philip, 
Earl of Chesterfield,’ “John Milton,” and “Mrs. Oldfield;” CHar rs 
Turner’s “London from Greenwich,” a beautiful impression OVER THE 
ORIGINAL ETCHING BY J, M. W. Turner; James Wartson’s “Frances, Lady 
Bridges,” and “Samuel Johnson;” and Tuomas Wartson’s “Frances, 
Duchess of Richmond.” 

JAMES ABBOTT McNEILL WHISTLER is represented by 
three charming plates, all beautiful impressions,—‘The Limeburner,” 
first state; “Rotherhithe,” second state, and “Battersea Bridge,” fourth 
state, with the “Butterfly” signature. 

Attention is also called to the works of Francesco Bartolozzi, John 
Dean, Sir Francis Seymour Haden, Alexander Herman Haig, George 
Keating, Charles Meryon, Jean Francois Millet, John Ogborne, Mare 
Antonio Raimondi, Wiliam Walker and Jerome Wierix. The present 
collection containing one or more beautiful examples of each artist. 

The charming mezzotint portraits of Nell Gwyn, engraved by Peter 
Van Bleeck, John Ogborne, Jan Verkolje, G. Valeck, A. de ee and 


Gerard Volck are also important items of the colleen 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by 
the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- 
juriously. 

2. The highest bidder shall be the buyer, and if any dispute arise between 
two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

g. Payment shall be made of all or such part of the purchase money as 
may be required, and the names and addresses of the purchasers shall be given 
immediately on the sale of every lot, in default of which the lot so purchased 
shall be immediately put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, 
shall be made within ten days thereafter, in default of which the undersigned may 
either continue to hold the lots at the risk of the purchaser and take such action 
as may be necessary for the enforcement of the sale, or may at public or private 
sale, and without other than this notice, re-sell the lots for the benefit of such pur- 
chaser, and the deficiency (if any) arising from such re-sale, shall be a charge 
against such purchaser. 


4, Delivery of any purchase will be made only upon payment of the total 
amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art Galleries, or 
other place of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase 
during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business in which the 
Association is in no wise engaged, and will not be performed hy the Association 
for purchasers. The Association will, however, afford to purchasers every facility 
for employing at current and reasonable rates carriers and packers; doing so, how- 
ever, without any assumption of responsibility on its part for the acts and charges 
of the parties engaged for such service. 


6. Storage of any purchase shall be at the sole risk of the purchaser. ‘Title 
passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- 
ciation will exercise due caution in caring for and delivering such purchase, it 
will not hold itself responsible if such purchase be lost, stolen, damaged or 
destroyed. ; 

Storage charges will be made upon all purchases not removed within ten days 
from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association of the cor- 
rectness of the description, genuineness or authenticity of any lot, and no sale will 
be set aside on account of any incorrectness, error of cataloguing, or any imper- 
fection not noted. Every lot is on public exhibition one or more days prior to its 
sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will 
give consideration to the opinion of any trustworthy expert to the effect that any 
lot has been incorrectly catalogued, and, in its judgment, may either sell the 
lot as catalogued or make mention of the opinion of such expert, who thereby 
would become responsible for such damage as might result were his opinion with- 


out proper foundation. SPECIAL NOTICE 

Buying or bidding by the Association for responsible parties on orders trans- 
mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
charge or commission. Any purchase so made will be subject to the above Condi- 
tions of Sale, which cannot in any manner be modified. The Association, however, 
in the event of making a purchase of a lot consisting of one or more books for a 
purchaser who has not, through himself or his agent, been present at the exhibition 
or sale, will permit such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any material manner differs 
from its catalogue description. 


Orders for execution by the Association should be written and given with 
such plainness as to leave no room for misunderstanding. Not only should the lot 
number be given, but also the title, and bids should be stated to be so much 
for the lot, and when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the one transmitting 
the order is unknown to the Association, a deposit should be sent or reference 
submitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be 
furnished by the Association at a reasonable charge. 

AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE, BY ORDER OF ALBERT W. PROSS, ESQ., 
AND THE NEW YORK TRUST COMPANY, AS EXECUTORS 


First Session, Numbers | to 199, inclusive 


TUESDAY EVENING, APRIL 10th, AT 8:00 O’CLOCK 


CAREL ALLARD 


Engraver and printseller, executed a number of mezzotint portraits of 
English celebrities. He flourished in Amsterdam at the end of the 17th 
and beginning of the 18th Centuries. 


ALLARD, CAREL 


1. Mapame Davis. Mezzotint. 
Not in Smith. 
Engraved after the painting by Sir Peter Lely. Frye 
eB IMPRESSION with letters. Surface and condition perfect. 
Cut on the plate-mark. 


& 


ALBRECHT ALTDORFER 


One of the “Little Masters.” Born at Ratisbon, 1480; died there, 1538. The 
oldest artist in the group of “Little Masters,” and the least dependent 
on Diirer in the formation of his style. 


ALTDORFER, ALBRECHT 


2. Martin LutrHer. Engraving. 
Bartsch, No. 61. 
Signed on the plate with the monogram—‘‘4.4.” FINE 
"ed glee IMPRESSION IN PERFECT CONDITION. Cut outside the 
‘ou plate-mark. 
Duplicate from the Berlin Museum. 


First Session, Tuesday Evening, April 10th 


BENOIT AUDRAN 


Second son of Germain Audran; born at Lyons, 1661. First received in- 
structions from his father, afterwards studied under his uncle, Gérard 
Audran. Entered the “Academy” in 1709. 


AUDRAN, BENOIT 


3. Le Passe Temps. Engraving. 
Engraved after the painting by A. Watteau. Lettered 
impression. IN PERFECT CONDITION AND WITH FULL 
MARGINS. 


FRANCESCO BARTOLOZZI 


Born in Florence, 1727; died in Lisbon, March 7, 1815. Pupil of Joseph 
Wagner at Venice. Removed to London, and founded the “Royal Acad- 
emy,” being nominated as one of the original members. 


BARTOLOZZI, FRANCESCO 


4. A Sr. Gites Beauty. Stipple Engraving. 
Engraved after the painting by J. H. Benwell. Proor 
BEFORE TITLE, and with the address,—‘Pubd. & Sept. 
1783 by E. M,. Diemar Strand.” SPLENDID IMPRESSION 
printed in brownish ink. Condition perfect. Margin 1g 
inch all around. V&ERY FINE AND RARE. 
A companion piece to “4 St. James Beauty.” 


BARTOLOZZI, FRANCESCO 


5. A Sr. James Beauty. Stipple Engraving. 
Engraved after the painting by J. H. Benwell. Proor 
BEFORE TITLE, and with the address,—‘Pubd. 8 Sept. 
1783 by E. M. Diemar Strand.” VERY FINE IMPRESSION 
printed in brownish ink. Condition perfect. Margin 44 
inch all around. VERY FINE AND RARE. 
Companion piece to “A St. Giles Beauty.” 


BARTOLOZZI, FRANCESCO 


6. Mary QUEEN oF Scots AND HeEr Son. Engraving. 
Engraved after the painting by F. Zuccuert. Proor 
BEFORE TITLE. FINE IMPRESSION IN PERFECT CONDITION. 
Original margins. 


First Session, Tuesday Evening, April 10th 


BARTOLOZZI, FRANCESCO 


7. Innocence Taventr sy Love anp Friennsnip. Stipple 
Engraving. 
| f- iiier, No. 72: 
| Kngraved after the design of Cipriani. Printed in san- 
guine. Good impression. 
Tue Fiower Girt. Stipple Engraving. 
Published in 1785 by J. Walker. Frye impression, 
printed in sanguine. 


Together, 2 pieces. Both framed. 


' BARTOLOZZI, FRANCESCO 


8. Sprine. Stipple Engraving. 
Tuer, No. 166. 


i Engraved after the painting by F. Wheatley. Frye 1- 
PRESSION, but cut to the engraved surface. 
Framed. 


BARTOLOZZI, FRANCESCO 
9. WintTER. Stipple Engraving. 
Tuer, No. 169. 
Engraved after the painting of F. Wheatley. Good im- 
pression with letters. 
Framed. 


BARTOLOZZI, FRANCESCO 
10. THe Dowacer QUEEN oF Epwarp IV. Partine with DuKE 
oF York. Stipple Engraving. 
Tuer, No. 1261. 
ay Engraved after the design by G. B. Cipriani. Proor 
al : BEFORE LETTERS. SPLENDID IMPRESSION WITH MARGINS. 
VERY FINE. 
Framed. 


BARTOLOZZI, FRANCESCO 

11. Venus SurrounpdED By Cupins. Stipple Engraving. 
Tuer, No. 1608. 
Engraved after the drawing by G. B, Cipriani. Braurti- 
FUL PROOF BEFORE TITLE, printed in brownish ink. Con- 

S ~~ dition very good. Mended tear in lower left corner. 

Oo Margin 1/16 inch all around. Mounted down for 

framing. 


First Session, Tuesday Evening, April 10th 


BARTOLOZZI, FRANCESCO 


12. Mrs. Azsincron as Tuaura. Stipple Engraving. 
Tuer, No. 1617. | 
Engraved after the painting by Richard Cosway. Proor 
BEFORE TITLE, printed in brownish ink. FINE IMPRES- 
sion. Conpition PERFECT. Margin 1/16 inch all - 
around. 


a ae 
Catton] 
\ 


BARTOLOZZI, FRANCESCO 


18. Mrs. Asrncron as THaria. Stipple Engraving. 
Tuer, No. 1617. 
Al - Engraved after the design by Richard Cosway. Proor — 
BEFORE TITLE, printed in sanguine. GooD IMPRESSION 
AND IN PERFECT CoNDITION. Margin cut to plate-line. 


a 


BARTOLOZZI, FRANCESCO 


14. Tur Daventers or Lapy Diana BeaucterKx. Engraving. 
Tuer, No. 1628. 
Engraved after the drawing by Lady Diana Beauclerk. 
x FINE IMPRESSION, printed in brownish ink. Condition very 
L good. One slight fold through middle. Cut just inside 
the plate-mark. Mounted down for framing. 


~ a ao 


BARTOLOZZI, FRANCESCO 


15. Mrs. Croucn. Stipple Engraving. 
Tuer, No. 1651. 
, \ ~ Engraved after the painting by Romney. Proor BEFORE 
ES ALL LETTERS. BEAUTIFUL MELLOW IMPRESSION, IN PER- 
FECT CONDITION and with full margin. | 


BARTOLOZZI, FRANCESCO 


16. CHartes Burney. Stipple Engraving. 
we Tuer, No. 1748. 
| 0 Engraved after the painting by Sir Joshua Reynolds. 
SPLENDID IMPRESSION with letters. Condition fair. 
Slightly rubbed and wrinkled in lower left corner of mar- 
gin. Cut on the plate-mark. Rare. a 


‘ 


First Session, Tuesday Evening, April 10th 


BARTOLOZZI, FRANCESCO 


17. Lorp Hawxe, Lieut. Goy, or Greenwicu Hosriray. Stipple 
Engraving. 
b Not in Tuer. 
Engraved after the painting by Coates. SPpLEeNpiIp IM- 
PRESSION. PROOF BEFORE TITLE, printed in brownish ink. 
In IMMACULATE CONDITION WITH ORIGINAL MARGINS. 


BARTOLOZZI, FRANCESCO 


18. OpHEniA. Stipple Engraving. 


Not in Tuer. 
ae Engraved after the painting by James Nixon. Proor 
YS: at BEFORE ALL LETTERS. FINE IMPRESSION, printed in 
brown. FuLi marerns. 
Framed. 


BARTOLOZZI, FRANCESCO 


19. “Verttez Amans st L’AmMour Dort.” Stipple Engraving. 
Engraved after the design of Angelica Kauffman. Fine 
IMPRESSION, with letters. IN PERFECT CONDITION. 
Le Covucuer. Engraving. 

/$- Engraved by G. Kellaway after the painting by Carle 
Vanloo. Fine Impression, with letters. IN PERFECT 
CONDITION and with original margins. 
Together, two pieces. 


BARTOLOZZI, FRANCESCO 


20. Orance Girt. Stipple engraving. 
Engraved after Benwell. Late impression with letters. 
IN PERFECT CONDITION. 
JANE SHorE. Stipple engraving. 
Fine impression with letters. Conpirion PERFECT. Mar- 
ss gin 1 to 14% inches all around. 
/d Together, 2 pieces. 


First Session, Tuesday E’vening, April 10th 


ETIENNE BAUDET 


French line-engraver, born at Vineuil about 1636. He was a pupil of 
Bourdon and Bloemart; also, a member of the Royal Academy of Paris, 
in which city he died in 1711. 


BAUDET, ETIENNE 


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21. Louise, Ducuess or PortsmMoutH. Engraving. 


Engraved after the painting by H. Gascar. Fair impres- 
sion in fair condition. Somewhat stained. Rare. 


Framed. 


ISAAC BECKET 


English engraver, born in Kent, 1653. He was bred to the business of 
calico-printing, but becoming acquainted with the mezzotinter Lutterel, 
he learned from him the process, and became one of the earliest mezzo- 
tint engravers in England. 


BECKET, ISAAC 


22. Barpara, Ducuess oF CLEVELAND. Mezzotint. 


Smith, No. 22. 

Engraved after the painting by Sir Godfrey Kneller. Src- 
OND STATE, with the words,—“J. Smith ex.’ Good impres- 
sion. Surface and condition fair. Margin 1/16 inch 
all around. 

“Her (The Duchess of Cleveland) acquaintance with Charles com- 
menced in Holland in 1659. She became his avowed mistress at the 
Restoration, and exercised a power, or rather a tyranny, over him 


greater than even her beauty would seem possible to obtain.”—z. c. 
SMITH. 


BECKET, ISAAC 


23. Lapy Puayinc THE VIOLONCELLO. Mezzotint. 


Smith, No. 103. 

SCRATCHED LETTER PROOF before further inscription. 
VERY FINE IMPREssION. Surface and condition prac- 
tically perfect. Thin places along the edge. Cut just 
outside the plate-mark. 

Smith suggests that this may be a portrait of Miss Mary 
Davis. 

From the collection of Queen Victoria of England. 


First Session, Tuesday Evening, April 10th 


HANS SEBALD BEHAM 


“If Barthel was the more talented artist, Hans Sebald Beham (1500-1550), 
who was probably of a stronger nature or constitution, and able to give 
more assiduous practice to his craft, attained to a greater virtuosity in 
engraving, and left a far more prolific work. On his earlier prints he used 
a monogram composed of the letters H. S. P., while later, from about 
1531, that is, about the time of his settlement in Frankfort, he changed 
the signature to H. S. B.”—a. m. HIND. 


BEHAM, HANS SEBALD 


24, DeatH AND THE Woman. Engraving. 

: Bartsch, No. 149. 

See Signed on the plate-—‘H S B.” Engraved after his own 
design in 1541. Fair impression and in good condition 
except for a mended crease across the bottom. The 
inscription on the plate reads,—‘Omnem in  homine 
venustatem mors abolet.” 


? 
se 


ABRAHAM BLOOTELING 


Born at Amsterdam, 1634; died, after 1685. Draughtsman, line-engraver 
and mezzotinter. Pupil of Cornelius van Dalen. 


BLOOTELING, ABRAHAM 


25. AnnE Kitiicrew. Mezzotint. 

Not in Smith. 
Engraved after the painting by Anne Killigrew. Very 

ia FINE IMPRESSION with letters. Surface very good. Cown- 
DITION PERFECT. Margin 14 inch all around. Rare. 
Anne Killigrew, the daughter of Dr. Henry Killiigrew, was 
eminent in poetry and painting. She died in 1685 in her 
25th year and was buried in the Parry Chapel. 


BLOOTELING, ABRAHAM 


26. CATHERINE OF Encuanp. Mezzotint. 

Engraved after the painting by Sir Peter Lely. SpiLen- 
DID IMPRESSION, with inscription. Surface and condition 
perfect. Margin 1 inch all around. 


First Session, Tuesday Evening, April 10th 


BLOOTELING, ABRAHAM 


27. LouisE, Ducurss oF PortsmoutH. Mezzotint. 


Smith, Letter N. 
Engraved after the painting by Sir Peter Lely. Srconp 
STATE, with inscription. FINE impression. Surface and 
condition good. A few slight rubs and thin spots. Cut 
on the plate-line. 


BLOOTELING, ABRAHAM 


4 > 


28. Mary, Princess or Orance. Mezzotint. 


Engraved by an unknown artist, perhaps by Blooteling. 
PROOF BEFORE LETTERS. SPLENDID IMPRESSION. Surface 
and condition good. Several thin places. Cut outside 
plate-mark. 


CuHarues II as a Cutty. Mezzotint. 


Smith, Letter i. 

Engraved after the painting by Sir Anthony Van Dyck. 
Second state with inscription. Five impression. Sur- 
face slightly wrinkled. Condition perfect. Margin 34 
inch all around. 

Together, 2 pieces. 


BLOOTELING, ABRAHAM 


29. Count Huyenens. Engraving. 


Engraved after the painting by N. Visscher. Unique 
STATE. SPLENDID IMPRESSION, in practically perfect con- 
dition. Margin on one side reinforced. Margin 14 to 
Y/4, inch all around. 


BLOOTELING, ABRAHAM 


80. Tére pE L’Enrant. Engraving. 


Dutuit, No. 98. 


Le Méme. VvuE pE PRoFIt. 


Dutuit, No, 99. 
After paintings by Rubens. 
Together, 2 pieces. _ 


First Session, Tuesday Evening, April 10th 


JEAN JACQUES DE BOISSIEU 


French painter, more celebrated as an engraver. Born at Lyons, 1736; 
where he died in 1810. 


BOISSIEU, JEAN JACQUES DE 


31. Paysacre. Etching. 
Signed on the plate,—**D. B. 1800.” Very FINE IMPREs- 
Tee SION IN PERFECT CONDITION. Printed on Japan paper. 
- ; 
3 Ample margins. Mounted down for framing. 


ALEXANDER BROWNE 


“A considerable number of mezzotints of the last three decades of the 
17th Century bear the names of Richard Tompson and Alexander Browne, 
but as they are never accompanied by anything but the word “exc.” it 
is doubtful whether they were ever more than the printers and publishers.” 
—A. M. HIND. 


BROWNE, ALEXANDER 


32. Frances, Countess oF Portuanp. Mezzotint. 
Smith, No. 29. 
Published by A. Browne. Engraved after the painting 
Hd e by Sir Anthony Van Dyck. Ownty stare. FINE RICH 
IMPRESSION. Surface and condition very good. Margin 
1g inch all around. 


LUIGI CALAMATTA 


Calamatta (1802-1869), an Italian engraver, went to Paris and had an 
immediate success by securing the patronage of Ingres. In 1837 he became 
professor at the “Academy of Fine Arts” at Brussels. Among his pupils 
were,—Flameng, Desvachez, Biot, and Charles Blanc. 


CALAMATTA, LUIGI 


33. Francesca pA Rimini. Engraving, 

Beraldi, No. 4. 

Engraved after the painting by Ary Scheffer. SrippLep 

ane LETTER PROOF BEFORE TITLE, ON InpIA PAPER, with 
original margins. 


First Session, Tuesday Evening, April 10th 


DAVID YOUNG CAMERON 


Celebrated contemporary Scotch painter and engraver. Born at Glasgow 
in 1765, 

“In examining Cameron’s etchings it is not easy to designate his forte . . 
Cameron (though we hope his best work is still to be done) already shows 
himself equally at home when delineating pure landscape, views of build- 
ings and shipping, interiors, or portraits.”—FREDERICK KEPPEL. 


CAMERON, DAVID YOUNG 


34. Tue Appazta, Venice. Etching. 
Rinder, No. 306. } 
SIGNED ARTIST’s PROOF on soft Japan paper. ‘THirD 
sTATE, with additional ink on the steps. Frye mpREssION 
printed with brownish ink. IN PERFECT CONDITION. 
About 830 impressions. ONE OF THE ARTIST’S MASTER- 
PIECES. Rare. 


CAMERON, DAVID YOUNG 


35. Ros—E Winpow, St. Mark’s. Etching. 
Rinder, No. 807. 
SIGNED ARTIST’s PROOF on old paper water-marked with 
a scallop shell. FourrH srare. BEAUTIFUL IMPRES- 
sIon, in perfect condition and with full margins. 
IXxTREMELY FINE AND RARE. ONE OF THE ARTIST’S MAS- 
TERPIECES. 


[See Reproduction | 


MANUEL SALVADOR CARMONA 


Engraver and designer; born at Madrid in 17380; became a pupil of 
Dupuis in Paris. He died at Madrid in 1807. 


CARMONA, MANUEL SALVADOR 


386. Le Firs pe Rusens. Engraving. 
Dutuit, No, 54. 
Engraved after the painting by Rubens. First stare, 
aN A before all letters. SpLENDID IMPRESSION IN PERFECT CON- 
& DITION. Rare. 


: 
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& 
> 
2 
& 


DAVID YOUNG CAMERON. ETCHING 
Rost Winpow, Str. Marx’s 
[No. 35] 


heehee a SY tb 


L 


First Session, Tuesday Evening, April 10th 


THOMAS CHEESMAN 


Born in 1760, and was a pupil of Bartolozzi. He worked in both stipple 
and mezzotint. 


CHEESMAN, THOMAS 


387. Tue Lapy’s Last Srake, or Virtue 1n Dancer. Stipple 
Engraving. 
Dobson, page 317. 
Engraved after the painting by William Hogarth. Proor 
BEFORE ALL LETTERS. VERY FINE EARLY IMPRESSION IN 
PERFECT CONDITION. - Plate-line intact. Several slight 
\7 mended tears in the margin. VERY FINE AND RARE. 

Mrs. Thrale (or Mrs. Piozzi), who claimed to be the original of the 
picture, wrote the following account of the painting,— 

“The next time we went to Leicester Fields, Mr. Hogarth was 
painting, and bid me sit to him: ‘dnd look here now, said he, ‘I am 
doing this for you. You are not fourteen years old yet I think, but 
you will be twenty-four, and this portrait will then be like you. ’Tis 
the Lady’s Last Stake; see how she hesitates between her money and 
her honor. Take you care; I see an ardor for play in your eyes and 


in your heart; don’t indulge it. I shall give you this picture as a 
warning, because I love you now, you are so good a girl. ” 


PIERRE CHARLES COQUERET 


French engraver in aquatint; born at Paris in 1761. He studied under 
Janinet and produced a large number of very excellent engravings. 


COQUERET, PIERRE CHARLES 


388. THe Horse Drearer. Aquatint. 
Engraved after the painting by C. Vernet. PRroor BE- 
FORE TITLE. SPLENDID IMPRESSION. Surface very good. 
, [7 Condition fair. Several tears in the margin. Rare. 


SAMUEL COUSINS 


Born in Exeter, 1801; died in London, May 7, 1887. Pupil of S. W. 
Reynolds. 
“Un des meilleurs graveurs anglais de ce siécle.”—HENRI BERALDI. 


COUSINS, SAMUEL 


39. Prince Merrernicu. Mezzotint. 
Whitman, No. 109. 
, Engraved after the painting by Sir Thomas Lawrence. 


First Session, Tuesday Evening, April 10th 


[ No. 39—Continued | 


First state. VERY FINE IMPRESSION. Surface and con- 
dition good. Original margins. 
From the collection of Sir Thomas Lawrence. 


COUSINS, SAMUEL 


40. “Turn Acain Wuittineton.” Mezzotint. 
Whitman, No. 234. 
ii Engraved after the painting by James Sant. Onzy 
£ oe STATE, air impression. Surface good. Condition 
fair. Margin 1g to 1% inch all around. Mounted on 
linen for framing. 


M. f. DANFORTH 


English engraver of the 19th century. 


DANFORTH, M. I. 


41. Uncte Toxsy. Engraving. 
Engraved after the painting by C. R. Leslie. ScratcHep 
LETTER PROOF BEFORE TITLE. SPLENDID IMPRESSION IN 
a ae PERFECT CONDITION AND WITH ORIGINAL MARGINS. 


LUCIEN DAUTREY 


Contemporary French reproductive etcher. Pupil of Courtry. 


DAUTREY, LUCIEN 


42. Tue GuEANER. Etching. 
Etched after the painting by Jules Breton. Earty Triau 
PROOF ON JAPAN PAPER SIGNED IN PENCIL BY BOTH 
PAINTER AND ENGRAVER. FINE IMPRESSION. Good con- 


oo ie bogs dition. A small tear to the right. 


First Session, Tuesday Evening, April 10th 


HENRY DAWE 


Engraver and subject painter. Born near London in 1790; died, 1848. 
Studied with his father, Philip Dawe, and in the Royal Academy. He 
assisted Turner in the “Liber Studiorum.” Became a member of the 
“Society of British Artists” in 1830. . 


DAWE, HENRY 


43. Mrs. Stppons as THE Tracic Musr. Mezzotint. 
Not in Smith. 
s Engraved after the painting by Sir Joshua Reynolds. 
U PROOF BEFORE ALL LETTERS. SUPERB IMPRESSION. Sur- 
face and condition perfect. Margin 1 to 11% inches all 
around. VERY FINE AND RARE. 


JOHN DEAN 


Mezzotint engraver, a pupil of Valetine Green. He scraped several plates 
of portraits and other subjects in a very respectable style. Died in London 
in 1798. 


DEAN, JOHN 


44. Mrs. Martyr. Mezzotint. 
Smith, No. 18. 
Engraved after the painting by M. Brown. First stare, 


-Ne SCRATCHED LETTER PROOF. SUPERB IMPRESSION. Surface 
Jo : very fine. Condition good. Corners of margins slightly 
mended. Margin 14 inch all around. Very FINE AND 

RARE. 


“Maiden name Thornton; appeared first in public as a singer at 
Vauxhall and was afterwards engaged at Covent Garden. She was 
a favorite in Rosetta and other characters in English opera.”—v. c. 
SMITH. 


FRANCIS DELARAM 


Born, 1590; died, 1627. Contemporary with Elstracke and Van de Passe. 
Engraved various plates in the neat and formal style which was prevalent 
at that time. 


DELARAM, FRANCIS 


45. Kine James or Eneuanp. Engraving. 
FINE ImpREsSION, with letters. ConpIrion PERFECT. Cut 
just inside the plate-mark all around. VERY FINE AND 
OF THE GREATEST RARITY. 


ree 
A 
> ~ 


First Session, Tuesday Evening, April 10th 


DELARAM, FRANCIS 
46. Henry VIII. Engraving. 
Signed on the plate,-—‘Francisco Delaram Scul.” First 
sTATE, before the address was changed to “Are to be sould 


ae 

‘e by William Peake.” VERY FINE IMPRESSION IN PERFECT 
conpITION. Margin 34 inch all around. VERY FINE AND 
RARE. 


From the collections of St. John Dent and E. W. Martin. 


DELARAM, FRANCIS 


47. Capt. ArTHUR SEVERUS NonsucH O’Toote. Engraving. 
VeRY FINE IMPRESSION with inscription. Condition very 
good; a few small mended tears. Margins 1/16 inch all 
Se at around. OF THE GREATEST RARITY. 
O’Toole was a soldier of fortune who served against the Irish rebels, 
and in various parts of Europe. He was the subject of an ironical 


Panegyric by Taylor, the water-poet, who classed him with Amadis 
de Gaul, Don Quixote, etc. 


DELARAM, FRANCIS 


48. QuEEN Mary or Encianp. Engraving. 
Signed on the plate-—“Fran. Delaram Sculp.” First 
STATE. SPLENDID IMPRESSION IN PERFECT CONDITION. 
ig Cut on the plate-line. VERY FINE AND RARE. 
From the Buckingham, Dent and Walker Collections. 


THOMAS DE LEEUW (OR DE LEU) 


“Native of Flanders, was in France from 1560 to 1612. Pupil of Jean 
Rabel, afterwards of Antoine Caron, whose daughter he married. En- 
graved at first after Cornelis Cort, Sadeler, and Wierix, in a dry-point 
manner, but devoted himself afterwards to portraiture, in which he _ be- 
came one of the most distinguished artists of his time.”’—sryan’s pic- 
TIONARY OF ENGRAVERS AND PALNTERS. 


DE LEEUW (OR DE LEU), THOMAS 


49. Monraicne. Copperplate Engraving. 
FINE rmpREssion, signed below the inscription,x—‘Thomas 
de Leu, fecit.” CONDITION PERFECT. 


i eae 


First Session, Tuesday Evening, April 10th 


DE LEEUW (OR DE LEU), THOMAS 


50. Francis Il. Krye or France. Engraving. 
VERY FINE IMPRESSION. With inscription. In PERFECT 
CONDITION. 


DE LEEUW (OR DE LEU), THOMAS 


51. Mary Stuart. Engraving. 
Signed on the plate,—“Tho. de lew F. et ex.” Fine 1M- 
PREssION. <A few thin places, otherwise perfect condition. 
From the collection of Pierre Mariette, 1664. 


WILLIAM DICKINSON 


Born in London, 1746; died in Paris, 1823. ; 

“Associated with Thomas Watson in print selling and of close affinity 
with his style and technique. . . . With a pictorial sense that was exquisite 
and a touch full of vivacity and vigor, Dickinson, of course, became one of 
Sir Joshua’s trusted interpreters. His prints after the master are among 
those most valued by collectors.”—m. c. saLaman,—Old English Mezzotints. 


DICKINSON, WILLIAM 


52. Mrs. Gwynne anp Mrs. Bunsury. Mezzotint. 
Smith, No. 34. 
Engraved after the painting by D. Gardner. Firsr 
sTATE, before the names of the personages were erased. 
BEAUTIFUL IMPRESSION. PERFECT SURFACE AND CONDI- 
tion. Margin 14 inch all around. ExcrEpINGcLy FINE. 
From the W. Drugulin Collection. 


r’ 


DICKINSON, WILLIAM 
53. Mrs. HarTLey in THE CHARACTER oF Exrrma. Mezzotint. 
Smith, No. 37. 
Engraved after the painting by J. Nixon. Srconp 
STATE, with inscription. Fine impression. Surface 


40} ise good. ConpiITION PERFECT. Cut on the plate-line. 


“Mrs. Hartley first appeared at Bath about 1771, and became 
very popular as a tragic actress, more probably from her beauty 
than her talents; left the stage 1780. The play Elfrida was specially 
written for her by Mason, and she was most successful in it.”—s. c. 
SMITH. 


First Session, Tuesday Evening, April 10th 


DICKINSON, WILLIAM 


54. Tur Rev. THoomas Warton. Mezzotint. 


ae 


Not in Smith. 

Published in 1786 by W. Dickinson. Probably engraved 
by Hodges. Oven LETTER PROOF. Cut inside plate-line. 
Good impression, surface little rubbed. 

A portrait of the celebrated professor of poetry at Cam- 
bridge. 


JOHN DIXON 


Mezzotint engraver; born in Dublin about 1740; died in London, 1780. He 
studied under West in Dublin, and in 1766 became a member of the “In- 
corporated Society of Artists.” 


DIXON, JOHN 


55. Garrick as Ricuarp III. Mezzotint. 


gi 


Smith, No. 15. 
Engraved after the painting by N. Dance. First starr, 
SCRATCHED LETTER PROOF. SPLENDID IMPRESSION. Sur- 
face and condition perfect. Margin 14 inch all around. 
VERY FINE AND RARE. 

From the Brentano collection. 

“Garrick, born in 1716, pupil of Samuel Johnson; at first intended 
for the bar, but adopted the stage in 1741; became distinguished 


as actor, manager, author, and was one of the leading minds of the 
time; died, Jan. 1779.”—s. c. sMITH. 


ASHER B. DURAND 


American Line-Engraver. Born at Jefferson Village (So. Orange), New 
Jersey, August 21, 1796; died in 1886. 


DURAND, ASHER B. 


56. Wituiam Cutten Bryant. Engraving. 


ea 


Grolier Catalogue, No. 15. 

Engraved after the painting by Asher B. Durand. First 
STATE, PROOF BEFORE ALL LETTERS ON INDIA PAPER. 
SPLENDID IMPRESSION IN PERFECT CONDITION and with 
original margins. 

The final work on the plate was done by Durand himself. 
The head was etched on the plate by Charles Burt, filled 
by Schoff, and finished by Jones to the first state. 


First Session, Tuesday Evening, April 10th 


DURAND, ASHER B. 


57. Mustpora. Engraving. 


Grolier Catalogue, No. 286. 

Engraved after the artist’s own design. SPLENDID IM- 
PRESSION. IN PERFECT CONDITION. PRESENTATION COPY. 
Framed. 


DURAND, ASHER B. 


58. ARIADNE. Engraving. 


Grolier Catalogue, No. 237. 
Engraved after the painting by Vanderlyn. Proor sBE- 
FORE TITLE ON INDIA PAPER, WITH FULL MARGINS. 


ALBRECHT DURER 


Celebrated German painter and engraver. Born of Hungarian descent at 
Niiremberg in 1471, died there in 1528. He studied with Michael Wolgemut 
at Niiremberg and made several journeys to Italy. Like so many of the 
great artists of the period, he was a man of wide attainments. A scientist, 
writer, and mathematician as well as artist, he counted among his friends 
Erasmus, Luther, Melanchthon, Bellini and Raphael. His influence domi- 
nated the engraving of all the North Countries. His copper-engravings, 
woodcuts, and even his etchings in their way have never been surpassed. 
“Diirer did not possess the modern sense of limitation. . . His imagi- 
nation was deeply suggestive, straightforward, and marvelously fertile 
in invention; but he interpreted the imaginative world in terms of daily 
and often homely life; he knew beauty only as German Beauty, and life 
and its material surroundings only as German life and German civili- 
zation. . . But the grotesqueness disappears as the eye becomes acquainted 
with the unfamiliar, and the mind is occupied with the emotion, the 
intellectual idea, and imaginative truth expressed in these sometimes, ugly 
modes, for they are of that rare value which wins forgiveness for far 
greater defects of formal beauty than are apparent in Diirer’s work.”— 
GEORGE EDWARD WOODBERRY. 


DURER, ALBRECHT 


59. Curist on THE Mount oF Otrves. Etching. 


Bartsch, No. 19. 

Signed on the plate with the monogram,—‘4d D 1515.” 
Fine impression. Margin cut inside the plate-mark. 
From the Alferoff collection and another unknown to 
Fagan. 


“The etchings fall into a class by themselves, remarkable in Direr’s 
work not only for the technical method of production but also for 
the spirit in which they are conceived. Among the earliest etchings 
known to us, for they were made in the five years following 1513, 
the first date that appears on an etched plate, they are also among 
the finest. If we judge them from the point of view of the cookery 


First Session, Tuesday Evening, April 10th 


| No. 59—Continued | 


of etching they are uncouth, as is to be expected when we remember 
that they were done on iron plates with an etching ground that in all 
probability consisted of boiled linseed oil and red lead. Moreover, 
in addition to the fact that there is no internal evidence that Diirer 
knew anything about stopping-out or rebiting, the action of the 
mordant on the iron gave the lines a peculiar raw, flat quality wholly 
unlike that produced when copper is used. Now if these facts are 
borne in mind it will be found that the etchings are finer works of 
art than many of the famous and generally admired engravings. . . 
The wonderful Agony with its dramatically symbolic tree blasted 
and tortured in the more than earthly storm—a tree only to be ap- 
proached in one of Blake’s woodcuts. . . .”—w. M. IVINS, JR. 


DURER, ALBRECHT 


60. Vircin with Lone Harr. Engraving. 


1S m: 


Bartsch, No. 380. 

Signed on the plate with the monogram,—“4A D.” En- 
graved after his own design in 1508. Good impression. 
Several thin places. Cut on the plate-mark. 

From an unidentified collection. Duplicate from the Ber- 
lin Museum. 


“For in the same way as they (the ancients) applied the most. 
beautiful of a man to their idol, Apollo, thus we will take the same 
measurement for Christ, the Lord, who is the most beautiful of all 
the world. And as they have used Venus as the most beautiful 
woman, thus will we chastely devote the same graceful figure to the 
most pure Virgin, the Mother of God.”—a.Brecut pirer—Notes for 
an Introduction to his Book, “On the Proportions of the Human 
Body.” 


DURER, ALBRECHT 


61. Vircin wirnh Crown anv Sceprre. Engraving. 


eo: 


Bartsch, No. 382. 

Signed on the plate with the monogram,—“d4. D.” — En- 
graved after his own design in 1516. Fair impression 
with plate-line intact. IN PERFECT CONDITION. 


DURER, ALBRECHT 


62. Virgin CrowNnEepD BY ONE ANncEL. Engraving. 


) a 


Bartsch, No. 87. 

Signed on the plate with the monogram,—“‘4. D.” En- 
graved after his own design in 1520. Fair impression, in 
PERFECT CONDITION. On paper with the watermark of 
the little jug. Margin 1/16 inch top and sides, 3/16 
inch on the bottom. 


From the Ruhl and Theodore Roussell collections. 


First Session, Tuesday Evening, April 10th 


DURER, ALBRECHT 


ee” 
0 
” 


DURE 


63. Sr. GeorcE Stranpinc. Engraving. 


Bartsch, No. 58. 

Signed on the plate with the monogram,—“‘4. D.” En- 
graved after his own design. Fine tmpresston, with 
1/16 inch margin. One very slight thin place, other- 


wise in fine condition. Rare. 


Bartsch, No. 60. 

Signed on the plate with the monogram,—‘d. D.” En- 
graved after his own design in 1514. BravutiruLt IM- 
PRESSION IN PERFECT CONDITION. ‘Trimmed: outside the 
plate-mark. OF THE GREATEST RARITY. 

From the T. E. Crawhall, and Julian Marshall Collec- 
tions. 


“It is absolutely necessary to have this print in delicate, thoroughly 
transparent impressions. One of the greatest charms is the reflected 
light which fills the room and penetrates even the shadow under the 
wall. This effect, which is so thoroughly in accord with the subject, 
: . is lost in heavy or dull impressions.”—s, rk. KoEHLER,—Grolier 
Catalogue. 


[See Reproduction | 


ALBRECHT 


\Errects or JEaLousy. Engraving. 


Bartsch, No. 73. 

Signed on the plate with the monogram,—“A. D.” VERY 
FINE CLEAR IMPRESSION, IN UNUSUALLY PERFECT CONDI- 
TION. Margin 1/32 to 1/16 inches all around. Very 
FINE AND RARE. 


From the Archinto, Julian Marshall and Alfred Morri- 


son collections. 


DURER, ALBRECHT 


66. THe Dream. Engraving. 


Bartsch, No. 76. 

Signed on the plate with the monogram,—“d. D.” En- 
graved after his own design. BriLLIANT IMPRESSION. 
Several thin places. Margin cut to plate-mark. 

From the collection of the Duke of Buccleugh. 


ALBRECHT DURER. ENGRAVING 
St. JEROME IN His CELL 


[No. 64] 


First Session, Tuesday Evening, April 10th 


DURER, ALBRECHT 


67. THe Sranparp Bearer. Engraving. 


Bartsch, No. 87. 

Signed on the plate with the monogram,—*“d4. D.” En- 
graved after his own design. FINE IMPRESSION AND IN 
PERFECT CONDITION, with 1/16 inch margin all around. 


DURER, ALBRECHT 


DURER 


68. Tue Lirrte Horse. Engraving. 


Bartsch, No. 96. 

Signed on the plate with the monogram,—“4. D.”  En- 
graved after his own design in 1505. ExTraorpINaRILy 
BRILLIANT IMPRESSION on paper with the watermark of 
“The Bull’s Head,’ Haussman No. 19. Margin 1/16 
inch all around. A few thin places, otherwise in perfect 
condition. 

From the collection of the Duke of aecleas 


ALBRECHT 


“NIGHT, DeatrH AND THE Devin. Engraving. 


Bartsch, No. 98. 

Signed on the plate with the monogram,—“4. D.” En- 
graved after his own design in 1518. Britiianr IM- 
PRESSION IN PERFECT CONDITION. ‘Trimmed outside the 
platemark. ExTrREMELY FINE AND OF THE GREATES* 
RARITY. 


“Much has been written about the meaning of this engraving, which 
Diirer himself calls Der Reuter. The interpretation of the Christian 
Knight is the oldest, simplest, and best. Passing resolutely through 
the terrors of this mortal life, turning his back on temptation and 
undismayed by the prospect of temporal death, he rides straight on 
along the road which will eventually leave the dark valley and lead up 
to the bright city on the hill. This notion of the Christian Knight, 
to which Erasmus gave the greatest vogue by the publication of his 
Enchiridion Militis Christiania, had been current long before in the 
mystical literature and popular theology of the fifteenth century. 
It had already inspired some rude woodcut illustrations, and Diirer 
was not so much expressing an original thought of his own as giving 
the first adequate artistic form to a conception universally familiar 
in his generation.”—cAMPBELL LODGSON. 


[See Frontispiece for Reproduction | 


First Session, Tuesday Evening, April 10th 


DURER, ALBRECHT 


70. Coat-or Arms wirH a Cocx. Engraving. 
Bartsch, No. 100. 
Signed on the plate with the monogram,—‘d. D.” En- 


SION IN PERFECT CONDITION. Cut on the plate line. In- 
47 ner margin lines added in ink. ExrreMELY FINE AND 
HS RARE. 


From the Brentano and Kennedy collections. 


= ae? graved after his own design in 1512. SpLeNpip ImpREs- 
Jor 


“He drew splendid coats-of-arms, including the finest the Renais- 
sance produced in the way of heraldry.”—xkNnackFuss. 


DURER, ALBRECHT 


71. Coat-or Arms witH A Skutu. Engraving. 
Bartsch, No. 101. 
ri q aig Signed on the plate with the monogram,—‘“‘d. D.”” En- 
)d [ graved after his own design in 1503. ExrreMELy BRIL- 
: LIANT IMPRESSION IN PERFECT CONDITION. Cut outside 


e 
WU | the plate-line. ExTrEMELY FINE AND RARE. 
Pte. From the collection of the Duke of Buccleugh. 
oe 


: “Called also the Coat of Arms of Death and The Dying Bride. A 
much-discussed print, which, however difficult it may be today to 
follow the wandering fancy of the artist it would seem safe to con- 
nect in a general way with the idea of the ‘Dance of Death,’ although 
the ‘wild man’ is evidently not a personification of Death, but a Satyr, 
as his right leg, visible to the left, clearly shows.”—xornLeR,—Grolier 
Catalogue. 


DURER, ALBRECHT 


72. Tue Four Rivers. Woodcut., 

Bartsch, No. 64. 

Signed on the plate with the monogram,—“d. D.” Im- 

pression without the text on the back, probably after 
ga- the regular edition. BriLuianr IMPRESSION on paper 

} water-marked with “The Little Jug.” PERFECT CONDI- 

tion. Margin 3/16 inch all around. One of the most 

famous of the illustrations to the Apocalypse. 

From the collection of A. Artaria. 


First Session, Tuesday Evening, April 10th 


DURER, ALBRECHT 


73. THe Martryrpom or St. CaTHAaRInE Woodcut. 
i Bartsch, No. 120. 
Signed on the plate with the monogram,—“4. D.” Fine 
ie clear proof, but somewhat battered, skilfully mended. 
Cut on the plate-mark. 


DURER, ALBRECHT 


74. Toe Emperor Maximitian. Woodcut. 
Bartsch, No. 153. 
Signed on the block with the monogram,—“4. D.” Fair 
ees impression. Cut on plate-mark. Laid down to mend a 


al 


iota cut on the left. 


CORNELIS DUSART 


Born at Haerlem, in 1660; died there in 1704. 

“He was a pupil of Adriaan Van Ostade, whose style he imitated with 
considerable success. His works, like those of Ostade, represent Dutch 
peasants regaling and merry-making. Although not equal to his master 
in the richness of his tones and the harmony of his effects, his coloring is 
clear and agreeable, his compositions ingenious, and his touch very spirited.” 
—BRYAN. 


DUSART, CORNELIS 


75. Le Barsirer. Mezzotint. 
EE f Bartsch, No. 18. 
Engraved after the artist’s own design. FINE IMPREs- 
SION in very good condition. EXTREMELY RARE. 


DUSART, CORNELIS 


76. Le Tapac Pritsenrté. Mezzotint. 
Bartsch, No. 19. 
Engraved after the artist’s own design. SUPERB IMPRES- 
sion. Surface and condition perfect. Margin 1 inch 
all around. VERY FINE AND EXTREMELY RARE. 


Nine 


DUSART, 
chee 


geo 


DUSART, 
78. 


34 


DUSART, 
19, 


i 


First Session, Tuesday Evening, April 10th 


CORNELIS 


La Lorerigc pE Grorrensproeck. Mezzotint. 
Bartsch, No. 40. 
Engraved after the artist’s own design. First stare, 
PROOF BEFORE ALL LETTERS. SPLENDID IMPRESSION IN 
PERFECT CONDITION. EXTREMELY RARE, 


CORNELIS 


Les Sepr. Mezzotint. 
Bartsch, No. 41. 
Engraved after the artist’s own design. SPLENDID IM- 
PRESSION IN PERFECT CONDITION. 


CORNELIS 


Victoria Pusuica. Mezzotint. 
Not in Bartsch, 
Engraved after the artist’s own design. FINE IMpREs- 
SION IN PERFECT CONDITION. 
A scene representing a public celebration, perhaps the 
same which Dusart shows in Bartsch No. 82-37, the fes- 
tival on the occasion of the capture of Namur by William 


III. of Orange, King of England. 


RICHARD EARLOM 


Born in Somersetshire, 1743; died in London, 1822. He was at first a 
pupil of Cipriani, but later devoted himself to mezzotint engraving. He 
executed few works in stipple, but they are of a quality which entitled him 
to rank as one of the greatest engravers in that manner. 


EARLOM, RICHARD 


80. 


JUPITER AND Cautsto. Mezzotint. 
Wessely, No. 86. 
Engraved after the painting by Sir Anthony Van Dyck. 
SECOND STATE. SCRATCHED LETTER PROOF, with coat of 
arms. Surface and condition good, Right corner of 
margin mended. 


First Session, Tuesday Hvening, April 10th 


EARLOM, RICHARD 


81. THr Lioness anp THE Witp Boar. Mezzotint. 
Wessely, No. 137. 
Engraved after the painting by F. Snyders. First stare. 
SCRATCHED LETTER PROOF. BRILLIANT IMPRESSION, Sur- 


face and condition very good. Margin *% inch all 
around, 


GERARD EDELINCK 


Born at Antwerp, 1640; died at Paris, 1707. Pupil of C. Galle and later 
of Poilly at Paris. 

“Others may have surpassed him in particular things, but, according to 
the Italian teacher, he remains, by common consent, the Prince of en- 
graving. Another critic calls him Hing.”—cHARLES SUMNER. ~ 


EDELINCK, GERARD 


82. JoHn Drypen. Engraving. 
Robert-Dumesnil, No. 187. 
es Engraved after the painting by Sir Godfrey Kneller. 
Second state, with coat of arms. GoopD IMPRESSION IN 
PERFECT ConpITION. Margin 1/16 inch all around. 


Pe 


REGINALD ELSTRACKE 


Flourished in England about 1620. 

“He worked chiefly for the booksellers, and his plates are almost entirely 
confined to portraits. He also engraved the title-page and several por- 
traits for Holland’s ‘Baziliologia.’ ”’—sryan. 


ELSTRACKE, REGINALD 


83. Sir Juiivus Carsar. Engraving. 

Signed on the plate-—‘R. Elstracke sculpsit.” First 
| sTATE, before the address, PROBABLY UNIQUE. SPLENDID 
l IMPRESSION IN PERFECT CONDITION. Margin 14 inch all 

around. EXTREMELY FINE AND RARE. 


First Session, Tuesday Evening, April 10th 


ELSTRACKE, REGINALD 


84. AnnE Boteyn. Engraving. 
44 “a Signed on the plate,—“R. Elstrack sculpsit.”” Spuenpip 
IMPRESSION, IN PERFECT conpiITION. Margin 14 inch all 
around. VERY FINE AND RARE. 


ELSTRACKE, REGINALD 


85. Tuomas Howarp, Earu oF Surrotk. Engraving. 
Signed on the plate,—“R. Elstracke Sculp.” SpiEnpip 
- IMPRESSION, IN PERFECT CONDITION. Margin 1% to 1 inch 
2 all around. VERY FINE AND RARE. 
From the E. W. Martin collection. 


ELSTRACKE, REGINALD 


86. JoHN OLDENBARNEVELT. Engraving. 
Signed on the plate,—“R. E. scul.” SupERB IMPRES- 
4g - ae ae 
SION IN PERFECT CONDITION. Margin 14 inch all around. 
VERY FINE AND RARE. 


ELSTRACKE, REGINALD 


87. Str Puinie Sipney. Engraving. 
Signed on the plate,—“‘R. Elstracke.” Good impression, 
a0 in good condition. One corner slightly mended. Cut 
on the plate-line. 
From the F. Walker Collection. 


ELSTRACKE, REGINALD 


88. Mary QurEENn or Scots. Engraving. 
Signed on the plate,-—“‘R. Elstracke sculpsit.” Good im- 
Id- pression, in good condition. Cut on the plate-mark and 
remargined. Rare. 
From the E, W. Martin and Joseph Crawhall collections. 


ELSTRACKE, REGINALD 


89. Sicismunp III. or Potanp. Engraving. 
oe Signed on the plate,—“R. E. sculp.” SPLENDID IMPRES- 
) a SION, IN PERFECT conpITION. Cut on the plate-line. 


First Session, Tuesday Evening, April 10th 


GEORGE H. EVERY 


Contemporary English mezzotint engraver of the Cousins School. 


EVERY, GEORGE H. 

| 90. For THE Sauire. Mezzotint. 

dQ Engraved after the painting by Sir John Millais. Arr- 
IST’S PROOF ON InpiA PpapER, signed by both artists, 
Framed. 


EVERY, GEORGE H. 
91. Litac. Mezzotint. 
L Engraved after the painting by Sir John Millais. Arr- 
a IST’S PROOF ON InpIA PAPER, signed by both artists. 
Framed. 


JOHN FABER, Jr. 


Mezzotint engraver, was born in Holland in 1684; died at London, 1756. 
He greatly surpassed his father as a mezzotinter and was esteemed the 
ablest engraver of his time after John Smith. 


FABER, JOHN, Jr. 


92. Cuartes I. Mezzotint. 

| Smith, No. 74. 

a SECOND STATE, with the address of John Bowles. Fine 
IMPRESSION, Surface and condition good. Cut on the 
plate-line. 

Similar to Faithorne’s mezzotint of the same subject. 


FABER, JOHN, Jr. 


93. Wittiam Conereve. Mezzotint. 

Smith, No. 208. 

Engraved after the painting by Sir Godfrey Kneller. 
bes FINE IMPRESSION, with letters. Condition and surface 
very good. Margin 1% inch all around. 

This was plate number 40 of the Kitcat Club series. 


“The Kitcat Club was founded not far from the year 1700 by 
Jacob Tonson, a bookseller and publisher who had the faculty of 
forming friendships with his many distinguished clients. The club 
began as an assembly of wits and authors who held their meetings 
in a small house in Shire Lane, but before long, noblemen of high 
descent and statesmen of far-reaching influence sought admission to 
such an extent that the Kitcat Club ‘generally mentioned as a set of 
wits,’ became—to quote the words of Horace Walpole—‘in reality the 
patriots that saved Britain.’ ”—c. s. HELLMAN. 


First Session, Tuesday Evening, April 10th 


FABER, JOHN, Jr. 


94. ALEXANDER Pore. Mezzotint. 


jd 


Smith, No. 293. 

Engraved after the painting by Sir Godfrey Kneller. 
First state, before the retouch and change of publisher. 
FINE IMPRESSION. CoNDITION PERFECT. Surface good. 
Cut just outside of plate-mark. 


FABER, JOHN, Jr. 


95. ALEXANDER Porr. Mezzotint. 


oo 


Smith, No. 294. 

Engraved after the painting by C. Vanloo. Srconp 
STATE, With inscription. FINE mmpression. Surface and 
condition very good. Margin of one inch all round. 


FABER, JOHN, Jr. 


96. Cave UNDERHILL IN THE CHARACTER OF OpBADIAH. Mezzo- 


— 


oh 


tint. 
Smith, No, 357. 
Engraved after the painting by R. Bing. Own ty stare. 
Goop impression. Surface fair. CoNDITION PERFECT. 
Cut on plate-line and remargined. VERY RARE. 
Probably Faber’s first print. 
Underhill’s acting is alluded to by Cibber in Chap. V. of 
his Life. “The Tatler” for May 381, 1709, also calls 
attention to him as having been “‘a comic for three gen- 
erations.” 


ETIENNE FICQUET 


French engraver. Born at Paris in 1719; died there in 1794. He was in- 
structed by Schmidt and Le Bas. Acquired great reputation by a set of 
small portraits which he engraved of distinguished literary characters of 
France. One of his best plates is a portrait of Mme. de Maintenon after 
Mignard. 


FICQUET, ETIENNE 


97. Francoisr p’AUBIGNE, Marquise DE MaintTenon. Engrav- 


nef 


29 


ing. 
Engraved after the painting by Pierre Miguard. Very 
FINE IMPRESSION, IN PERFECT conpiTIon. Margin 11% to 
2 inches all around. 


First Session, Tuesday Evening, April 10th 


JOHN FINLAYSON 


Mezzotint engraver. Born about the year 1730, and worked in London. 
In 1773 he received a premium from the “Society of Arts” and about three 
years later he died. 


FINLAYSON, JOHN 


98. WituiAM Drummonp. Mezzotint. 


Smith, No. 5. 

Engraved after the painting by Cornelis Jansen. First 
sTATE, before any inscription, SUPERB IMPRESSION. Sur- 
face very good. Conpirion perFect.. Margin 14 inch 
all around. VERY FINE AND RARE. 

The poet William Drummond of Hawthornden was born 
in 1585 and died in 1649. Drayton and Ben Jonson are 
said to have been his friends. 


[See Reproduction | 


FINLAYSON, JOHN 


99. Maria, Ducuess or GuovcesterR. Mezzotint. 


Smith, No. 9. 

Engraved after the painting by Sir Joshua Reynolds. 
First stare, before the name and the coat of arms. 
SPLENDID IMPRESSION. SURFACE AND CONDITION PRACTI- 
CALLY PERFECT. Margin 1, inch all around. 

From the collection of the Duke of Buccleugh. 

The Duchess of Gloucester was a daughter of Sir Edward 
Walpole; married the Earl of Waldegrave who died in 
1763, and later the Duke of Gloucester, brother of George 
III. She was a prominent personage in the Walpole Cor- 
respondence. 


EDWARD FISHER 


Born in Ireland, 1730; died in London, about 1785. Was at first a 
hatter, but took to engraving; went to London; became a member of the 
“Incorporated Society of Artists,’ in 1766. 

“Fisher must be allowed a high place for both breadth of treatment and 
delicacy of finish.”—cHALONER SMITH. 


FISHER, EDWARD 


100. CotuEy Cipper. Mezzotint. 


Smith, No. 9. 
Engraved after the painting by J. B. Vanloo. Ownty 


JOHN FINLAYSON. MEZZOTINT 
WitiaAmM DrumMMmMonp 


[No. 98] 


First Session, Tuesday Evening, April 10th 


[ No. 100—Continued | 


STATE, with letters. Goop IMPRESSION. SURFACE AND 
CONDITION PERFECT. Cut outside the plate-mark. 

“Born in London, 1671; went on the stage; wrote several plays 
of which the “Careless Husband” is considered the best; the “Von- 
juror” created a sensation at the time and procured him the place 
of Poet-Laureate in 1730. He was severely handled by Pope. Brom- 


ley calls the lady in the picture a Muse, but it is probably a ee 
perhaps that of his daughter Mrs. Charke.”—s. c. smirH. 


FISHER, EDWARD 


101. Mrs. AnnE OupFietp. Mezzotint. 

Smith, No. 49. 

Engraved after the painting by Richardson. 'Tuirp 
90 STATE, with the publisher’s address. Good impression, Cut 
1x inch outside plate-mark on top and sides, trimmed 
inside plate-mark below, practically cutting off the pub- 
lisher’s address. Surface and condition good. <A few 
thin spots. 


FISHER, EDWARD 


102. LawrENcE STERNE. Mezzotint. 
a os Smith, No. 56, 

“ Engraved after the painting by Sir Joshua Reynolds. 
Tuirp staTE, before the further retouch and the figures 
76 at bottom to right. Fair impression. Surface good. 
ConpITIon PERFECT. Margin 14 inch all around. 
The best portrait of the author of ‘Tristan Shandy,” 
and one of the most effective of all mezzotint portraits. 


PIERRE FOURDRINIER 


French engraver who flourished for thirty years in London. Engraved many 
plates for the embellishment of books, plays, and pamphlets. He died in 
London in 1758. 


FOURDRINIER, PIERRE 


103. JonarHan Swirt. Engraving. 

Engraved after the painting by C. Jervas. Proor BEFORE 
ALL LETTERS. FINE CLEAR IMPRESSION, IN PERFECT CONDI- 
TION. Cut on the plate-line. 


First Session, Tuesday Evening, April 10th 


PIERRE FREISLHEIN 


French engraver in color. 


FREISLHEIN, PIERRE 


10 


i 


4. Cuartes Henri, Comte v’Estainc. Engraving. 
Aquatint engraving printed in colors after the artist’s 
own painting. With the inscription and coat of arms. 
FINE IMpREssION, with engraved margin and _ register 
marks intact. Small mended tear on the right. Margin 
from 1g to 1% inch on top, bottom and left side; cut to 
plate-mark on right. 


CLAUDE FERDINAND GAILLARD 


Engraver and painter. Born in Paris, 1834; died in 1887. Entered the 
“Ecole des Beaux Arts,” in 1850, and worked under Léon Cogniet. He won 
the Prix de Rome as an engraver in 1856. 


GAILLARD, CLAUDE FERDINAND 


105. Tue Man with tHe Pinx. Engraving. 


$b 


Beraldi, No. 25. 
Engraved after the painting by Van Eyck. CompLeTep 
STATE. FINE IMPRESSION IN PERFECT CONDITION. 


GIORGIO GHISI 


Italian engraver. Born at Mantua in 1520. He was a pupil of Giulio Ro- 
mano, and engraved many plates after Raphael and Michelangelo. 


GHISI, GIORGIO 


10 


a 


6. RapHaret’s Dream. Engraving. 
Bartsch, No. 67. 
Engraved after the design of Lucas Penni. Spienpip IM- 
PRESSION IN PERFECT CONDITION. Cut outside the plate- 
line, 
From the Debois, Durand, Firmin-Didot and Peoli col- 
lections. 
This plate has also been called “The Melancholy of Michel- 
angelo,” from the fancied resemblance of the philosopher 
by the rock to that master. 


First Session, Tuesday Evening, April 10th 


JACOB GOLE 


Engraver in mezzotinto. Born, Amsterdam, 1660; died there, 17387. 


GOLE, JACOB 


107. Marie Sopuie, QuEEN oF PortrucaAu. Mezzotint. 
Not in Smith. 
LETTERED IMPRESSION. FINE IMPRESSION. Surface and 
condition perfect. Cut on the plate-line. 


HENDRIK GOLTZIUS 


Born at Miihlbrecht, 1558; died at Haerlem, 1616. 

“Among his own countrymen, Cort’s breadth of style was best appreciated 
by Hendrick Goltzius, who came under the influence of his school in Rome. . . 
The delight he takes in rendering curves, be they as bombastic as they 
will, is irresistible. . .”—HIND. 


GOLTZIUS, HENDRIK 


108. Hoty Famity. Engraving. 
Bartsch, No. 20. 
Engraved after his own design in 1593. FrIxe ImprEssion, 
IN PERFECT conpiITION. Margin 14 inch all around. 
One of a set of six plates, known as the “‘Masterpieces 
of Goltzius.” They were executed in the style of each 
of the masters he wished to imitate, Diirer, Raphael, Van 
Leyden, ete. This one is in the manner of Barocci. 


GOLTZIUS, HENDRIK 
109. THe Fuiaceiuation. Engraving. 
Bartsch, No. 32. 
Engraved in the manner of Lucas van Leyden. Fair 
impression, IN GOOD coNDITION. Cut outside plate-line. 


GOLTZIUS, HENDRIK 
110. Nor, pe ta Faitte. Engraving. 
Bartsch, No. 212. 
Tue Wire or N. pve ta Fare. Engraving. 
Bartsch, No. 213. 


One signed on the plate with the monogram, the other 


First Session, Tuesday Evening, April 10th 


PNOs 1 1 0—Continued | 


with the name. SuprERB IMPRESSIONS, IN PERFECT CONDI- 
TION. One very small thin spot. 


From the collections of Julian Marshall and H. S. Theo- 
bold. 


Together, 2 pieces. 


CHARLES STORM VAN’S GRAVESANDE 


Contemporary Dutch etcher. Born at Breda in 1841; living at Brussels. 
Félicien Rops first suggested to him the use of the needle, which he used 


with such skill and application that he has now reached the position of Dean 
among Dutch etchers 


GRAVESANDE, CHARLES STORM VAN’S 


111. Beacurmne tHe Boar. Etching. 
SIGNED REMARQUE PROOF ON HoxuaNnp PAPER, with full 
Lf ¢ s margins. 

On tHE Vecut. Etching. 
SIGNED ARTIST’S PROOF ON JAPAN PAPER, with full mar- 
gins. 

Prers at ZeEesurce. Etching. 
SIGNED ARTIST’s PROOF ON Hotuanp PAPER, with full mar- 
gins. 
Together, 3 pieces. 


JOHN GREENWOOD 


Painter and mezzotint engraver. Born at Boston in 1729; died at Margate, 
1792. In 1752 he emigrated to Surinam and thence to Holland, arriving in 
England in 1763. Here he exhibited engravings at the Incorporated Society 
of Artists from 1764 to 1776, when he became an auctioneer. 


GREENWOOD, JOHN 


112. Porrrarr or AN Oxtp Man (RemsBranpt’s Fatuer). Mez- 
zotint. 
; Smith, No. 9. 
fv { Engraved after the painting by Rembrandt. First stare, 
/ PROOF BEFORE ALL LETTERS. FINE RICH IMPRESSION. In 


First Session, Tuesday Evening, April 10th 


[ No. 112—Continued | 


perfect condition. Good surface. Margin 1 inch all 
around. 

Greenwood was one of the several artists born in America 
who emigrated to Europe to practice their craft, The 
original of the picture is in the “‘Metropolitan Museum 


of Art,” New York. 
[See Reproduction | 


JOSEPH GROZER 


English mezzotint engraver; born about 1755. He practised in London, and 
probably died before 1799. 


GROZER, JOSEPH 


113. Mrs. H. Mackenzie anp Cuiup. Mezzotint. 
Smith, No. 17. 
oe. Engraved after the painting by Sir Joshua Reynolds. 
x U - SECOND STATE, with inscription. Five rwpression, Fair 
surface. Good condition cut just outside plate-mark. 
Several slight mended places. 


To this lady Walter Scott addressed the following lines in 1818,— 
“And thou, gentle dame, who must bear to thy grief, 
For thy clan and thy country, the cares of a chief, 
Whom brief rolling moons in six changes have left, 
Of thy husband, and father, and brethern bereft; 
To thine ear of affection how sad is the hail 
That salutes thee the Heir of the line of Kintail.” 


SIR FRANCIS SEYMOUR HADEN 


Eminent English etcher and surgeon. Born at London, 1848; died there in 
1910. President of the “Royal Society of Painter Etchers.” 

“Seymour Haden is pre-eminently a landscape etcher, resembling, certainly in 
this respect, the greatest number of etchers. Whatever the landscape be, 
it is always, it seems, landscape of character and landscape that the artist 
has enjoyed.”—FREDERICK WEDMORE. 


HADEN, SIR FRANCIS SEYMOUR 
; 114. Sunset 1x IrELANp. Etching. 
ig Harrington, No. 51. 
Etched in 1863. Signed on the plate, and in pencil,— 


JOHN GREENWOOD. MEZZOTINT 
REMBRANDT’s FATHER 


[No. 112] 


4 


First Session, Tuesday Evening, April 10th 


[ No. 114—Continued | 


“Seymour Hayden.” FuLuL RICH IMPRESSION OF THE SEC- 
OND sTATE. Ample margins. VERY FINE AND RARE. 


“A Sunset in Ireland is Hayden’s best work in dry-point, and it cer- 
tainly deserves its reputation of one of its author’s masterpieces. The 
quiet, peaceful sunset behind the dark masses of trees makes a plate 
of exquisite beauty. There are great differences in the various states, 
so that a choice among them is extremely difficult. The rich, dark, late- 
evening effect of the second state is quite as fine in its way as the 
lighter and more delicate early-evening effect of the earlier impres- 
sions.” —-ALBERTON CURTIS. 


[See Reproduction | 


AXEL HERMAN HAIG 


Celebrated Swedish etcher. Born in 1835 and working in London. Famous 
for his etchings of architectural subjects. He was the teacher of Anders 
Zorn. 


HAIG, AXEL HERMAN 


nc 
= 


115. Enrrancr To THE Porr’s Corner, WesrminstTErR. Etching. 
Armstrong, No. 45. 
SIGNED ARTIST’S PROOF. 
Framed. 


co ne 


HAIG, AXEL HERMAN 


116. THe Fountain or St. Georce. Etching. 
Armstrong, No, 47. 
a, SIGNED ARTIST’s PROOF. IN PERFECT CONDITION and with 
4 114 inches margins. Limited to 100 Proofs. 
This fountain is at Rothenberg in Bavaria, one of the 
most medieval of German medieval towns. 


ct 
‘ ° 


HAIG, AXEL HERMAN 


7 117. Waitine ror THE Ferry, Lisecx. Etching. 
7\U Armstrong, No. 48. 
SIGNED ARTIST’s PROOF. Limited to 250 proofs. 
Framed. 


[FIL ON] 


aQNVIAay NI LASNIS 


ONIHOLH ‘NAGVH WAOWAAS SIONVUA IS 


First Session, Tuesday Evening, April 10th 


HAIG, AXEL HERMAN 


118. MacpaLten CoLiLecEe, Oxrorp. Etching. 
E Armstrong, No. 52. 
r, os. SIGNED ARTIST’s PROOF. Limited to 500 proofs. 
The well-known Magdalen Tower as seen from Addison’s 
Walk, Oxford. 


Framed. 


HAIG, AXEL HERMAN 


119. Burcos CaTHEpRAL, IntTERIor. Etching. 
Armstrong, No. 65. 
SIGNED ARTIST’s PROOF. In good condition and with am- 


ple margins, 

7) “This etching of the Interior of Burgos Cathedral may fairly be 
described as the best known and most highly valued of- Mr. Haig’s 
etchings of cathedral interiors.”—r. a. ARMSTRONG. 


HAIG, AXEL HERMAN 


120. Entrance To THE Moseurt or MonamMMmep Bey, Carro. 
Etching. 
H OF Armstrong, No. 81. 
SIGNED ARTIST’s PROOF. Limited to 200 proofs. 
Framed. 


HAIG, AXEL HERMAN 
121. In Rurnertanp. Etching. 


} { Oe Armstrong, No. 83. 
: SIGNED ARTIST’s PROOF. Limited to 200 proofs. 
Framed. | 


HAIG, AXEL HERMAN 


122. DurHam CatTHeprat. Etching. 
Armstrong, No. 99. 
SIGNED ARTIST’S PROOF ON IMPERIAL JAPAN PAPER, with 
full margin. Etched in 1€93. Very slightly rubbed in one 
I: place on the margin. 
r It was Durham Cathedral that Dr. Johnson pronounced 
to be of “rocky solidity and indeterminate duration.” 


First Session, Tuesday Evening, April 10th 


HAIG, AXEL HERMAN 


123. Tarracona CarHepraL. Etching. 
rd Pa Armstrong, No. 116. 

: SIGNED ARTIST’s PROOF. Limited to 250 proofs. 
Framed. 


HAIG, AXEL HERMAN 


124, Parencia. Tue Attar or Vistration. Etching. 
Armstrong, No. 117. 
gor SIGNED ARTIST’s PROOF. Limited to 350 proofs. 
OU Framed. 


WILLIAM HOLE 


English engraver who flourished about the year 1618. He was chiefly 
employed by the booksellers. 


HOLE, WILL 


125. Micuart Drayton. Engraving. 
Good impression with letters. Fair condition. Several 
thin places. Cut on the plate-mark. Rare, 


Ds 


WENZEL HOLLAR 


Draughtsman and etcher. Born at Prague, July 13, 1607; died at London, 
May 28, 1677. Left Prague in 1627, studied in Frankfort under M. Merian, 
worked in Strasbourg from 1629 to 1633. 


HOLLAR, WENZEL 


126. Avsrect Direr. Etching. 
Parthey, No. 1890. 
ky Etched after the painting by Albrecht Diirer. Onty 
o sTaATE. Good impression, in good condition. Cut on the 
plate-line. 


First Session, Tuesday Evening, April 10th 


HOLLAR, WENZEL 


127. Witt1am Duepate. Etching. 
Parthey, No. 1392. 
Ktched after the artist’s own design. ONLY sTATE. 
A 0’ SPLENDID IMPRESSION, IN PERFECT CONDITION. Margin 1 
o to 2 inches all around. Rare. 
A fine portrait of the celebrated antiquarian. 


HOLLAR, WENZEL 


128. Cuartrs If. Etching. 
4/ Parthey, No, 1442. 
) 2 Etched after the painting by Sir Anthony Van Dyck. 
| First state, before the words ‘“‘Natus Ao. 1630,” were 
included in the regular line. VERY FINE IMPRESSION IN 
PERFECT CONDITION. Cut just inside the plate-line. 


HOLLAR, WENZEL 


129. Cuartes II. Etching. 
Parthey, No. 1442. 
Etched after the painting by Sir Anthony Van Dyck. 
SEcoND sTATE, before the address of Meyssens. Fine 
ate IMPRESSION IN PERFECT CONDITION, Cut just outside the 
plate-line. 
From the Julian Marshall collection. 


HOLLAR, WENZEL 


1380. Cuartes II. Etching. 
Parthey, No. 1442. 
Etched after the painting by Sir Anthony Van Dyck. 
; Txirp stTaTE, before the address of Meyssens was effaced. 
% is FINE IMPRESSION IN PERFECT coNnpDITION. Margin 1% to 
uv 114 inches all around. 
From the Broadhurst collection. 


First Session, Tuesday Evening, April 10th 


HOLLAR, WENZEL 


131. Witiiam Ovcutrep. Etching. 

Parthey, No. 1477. 

Etched from life at Antwerp in 1646. Own1y stare. 
ae SPLENDID IMPRESSION IN GOOD CONDITION. One or two 
~ sight thin places. Cut on the plate-mark. 

From the collection of Seymour Haden. Haden in his 

lectures and writings always spoke very highly of Hollar 

and considered him one of the greatest etchers who ever 
lived. Oughtred the mathematician at Cambridge was 

born in 1578 and died in 1660. 


) 
gG~ 


HOLLAR, WENZEL 


182. Henry Howarp, Eart or Surrey. Etching. 
ane Parthey, No. 1509. 
tv a Etched after the painting by Hans Holbein. First 
2 STATE, PROOF BEFORE LETTER. SPLENDID IMPRESSION IN 
PERFECT CONDITION. Margin 14 inch top and sides, cut 
just inside the plate-line at bottom. VERY FINE AND RARE. 


HOLLAR, WENZEL 


133. THe Deap Hare. Etching. 

Parthey, No, 2058. 

Etched after the painting by Peeter Boel. Ontzy stare. 

29 VERY FINE IMPRESSION IN PERFECT CONDITION. Cut just 
outside the plate-mark. 


DANIEL HOPFER 


Worked at Augsburg from 1493 until 1536. 

“Daniel Hopfer . . . was certainly one of the first, if not the earliest, 
of the German artists to practice etching in our sense of the word. He 
used it, like many another before him, for ornamenting armour and guns.” 
—HIND 


HOPFER, DAVID 


134. THoreE Women Arracxinc A Demon. Engraving. 
Bartsch, No. 7. 
Signed with the monogram,—“D. H.” VERY FINE IMPREs- 


tg 
4 SION IN PERFECT CONDITION, 


First Session, Tuesday Evening, April 10th 


RICHARD HOUSTON 


Born in Dublin, 1722; died in London, 1775. He was apprenticed to 
Brooks, and thus became a fellow-pupil with MacArdell, whom at the 
outside of his career he was considered to rival, if not even surpass, in 
spirit and fire. 

“His manner was bold and vigorous when his subjects required such 
treatment, as in the rugged pictures of Rembrandt.”—aLrrep WHITMAN. 


HOUSTON, RICHARD 
wn 135. Joun Bunyon. Mezzotint. 
a Smith, No. 18. 
Engraved after the painting by T. Sadler. ONty starts, 
with letters. Good impression with 14g inch margin all 
around. 


HOUSTON, RICHARD 


1386. VoutTairre. Mezzotint. 
Smith, No. 119. 
Engraved after the painting by L. Sen. Onty sraTE. 


4U Good impression. Surface and condition very good. 
a Margin 14 inch all around. Mounted down for fram- 
ing. 
PETER ISSELBURG 
German engraver. Born at Cologne about 1580, was probably a pupil of 
Crispin de Passe. He was much employed by booksellers and died in 
Nuremberg in 1630. 
ISSELBURG, PETER 
137. Henry VIII. Engraving. 
Fine impression with inscription. Cut on the plate-mark 
and remargined. 
James oF Encianp. Engraving. 
a Published by. Peter Isselburg. Sprenpip mPRESSION IN 
t }} . 
\\U PERFECT CONDITION. Full margins. 
| James OF Encianp. Engraving, 


“Printed and sould by P. Stent.” Good impression with 
inscription. Condition perfect. Cut on the plate-line. 
Together, 3 pieces. ae 


First Session, Tuesday Evening, April 10th 


RICHARDSON JACKSON 


Contemporary English mezzotint engraver of the Cousins school. 


JACKSON, RICHARDSON 


1388. Lapy Gertrrupe Firzparricx. Mezzotint. 
Engraved after the painting by Sir Joshua Reynolds. 
First sTATE, PROOF BEFORE ALL LETTERS, Good impres- 
fo sion in good condition. Margin 1 inch all around. 


Mounted down for framing. 


CHARLES JACQUE 


French painter and etcher. Born at Paris in 1813; died at Barbizon in 
1894. His original etchings did not appear until about 1841. 


JACQUE, CHARLES 


139. Le Depart. Etching. 

SIGNED ON THE PLATE,—‘Ch. Jacque.” First sTaTE 
ee PROOF BEFORE LETTERS. FINE IMPREsSION, on India paper 
f, J with full margins. 
ee. Les Perires VacHeres. Etching. 

Signed on the plate—‘‘Ch. Jacque.” First sTaTE PROOF 

BEFORE LETTERS. FINE Impression on India paper with 

full margins. Mounted down for framing. 

Together, 2 pieces. 


JOHN JONES 


John Jones was born probably after 1740. He practiced in London and 
was appointed engraver to the Prince of Wales and the Duke of York. 
His works are in stipple as well as in mezzotint, but it is on those in 
the latter manner that his reputation rests. He died in 1797. 


JONES, JOHN 
140. James Boswety. Mezzotint. 
Smith, No. 8. 
Engraved after the painting by Sir Joshua Reynolds. 


First STATE, SCRATCHED LETTER PROOF. SPLENDID IM- 


First Session, Tuesday Evening, April 10th 


[| No. 140—Continued | 


PRESSION. Surface and condition very good. Margin 
cut on plate mark at top and sides, 14 inch margin at 
bottom. VERY FINE AND RARE. 

The best portrait of the celebrated biographer. 

“The Charles James Fox and the James Boswell are among the 


most powerful and desirable prints of Reynold’s male prints.”—am. c. 
SALAMAN. 


JONES, JOHN 


141. Buack Monpay, or THE DeparTuRE FoR ScHoont. Mezzo- 
tint. 

Not in Smith. 

Engraved after the painting by W. R. Bigg. Oprn 

LETTER PROOF, SPLENDID IMPRESSION. SURFACE AND 

CONDITION PERFECT. Margins reinforced. A slight eras- 

ure in the inscription. VERY FINE AND RARE. 

Companion piece to Dulce Domum. 


Uy 


GEORGE KEATING 


Irish engraver. Born in 1762, studied with W. Dickinson, and practised 
in London between 1784-1799 in mezzotint and _ stipple. 


KEATING, GEORGE 


142. Nurse anp CHILpREN IN THE Fretps. Mezzotint. 

Not in Smith. 

Engraved after the painting by George Morland. Lower 
ne margin cut to engraved surface and false plate-margin 
() added from some uncleaned engraver’s proof, surface and 

condition otherwise perfect. Goop IMPRESSION. 

“But it is as an interpreter of Morland that Keating is seen at 
his best, Children playing at Soldiers being a delicious gem, while 


scarcely less admirable are The Angling Party and Nurse and Chil- 
dren in the Fields.”—m. c. sALAMAN. 


First Session, Tuesday Evening, April 10th 


LUCAS KILIAN 


Engraver. Born at Augsburg, 1579; died there, 1637. Pupil of his step- 
father, D. Custos. Member of a large and important family of engravers. 


KILIAN, LUCAS 


143. AtBrecut Direr. Engraving. 
Engraved after the painting by Albrecht Diirer. Let- 
| tered impression in perfect condition. 
= ae ALBRECHT Dtrer. Engraving. 
Engraved by G. M. Preissler after the painting by Al- 
brecht Diirer. Sprienpip impression, proof before all let- 
ters in perfect condition. | 
From the Artaria Collection. 
Together, 2 pieces. 


CHARLES KNIGHT 


Born in London, about 1743; died there about 1825. 


KNIGHT, CHARLES 


144. Burxp Man’s Burr. Stipple Engraving. 
Engraved after the painting by William Hamilton, Good 
impression. IN PERFECT CONDITION. 
io Framed. 


WILLIAM LANE 


Portrait painter. Born in 1746; died at Hammersmith, 1819. For some 
years he practised as a gem engraver, but afterwards devoted himself to 
portraits in crayons. 


LANE, WILLIAM 


145. Mrs. Anincron. Stipple Engraving. 
Engraved after the drawing by R. Cosway. Five DEti- 
ee CATE IMPRESSION. Stippled letter proof. ConpiITION PER- 


eb Y rect, Cut on the plate-line. 


~ 


SS, oe i 


First Session, Tuesday Evening, April 10th 


ROBERT LAURLE 


Mezzotint engraver and printseller. Born in London in 1740; died 
about 1804. In 1776 he received a premium from the “Society of Arts” 
for an invention in the aid of printing in color. 


LAURIE, ROBERT 


146. Mrs. Wricuten. Mezzotint. 
Mr. Garrick. Mezzotint. 


Smith, No. 1. 

From the series of 12 actors engraved after R. Dighton. 
Fair impressions, in good condition. Margins 1/16 inch 
all around. 

Together, 2 pieces, 


LAURIE, ROBERT 


LE CLAIR, B. 


LC 


147. Grore1ana, Ducuerss or DevonsHire. Mezzotint. 


Smithy No, 27, 

Engraved probably after the painting by Richard Cos- 
way. First strate, before any inscription. VERY FINE 
IMPRESSION. Surface and condition perfect. Margin 14 
inch all around. 

A similar print has been engraved by Bartolozzi from 
the design of Lady Diana Beauclere. 


B. LE CLAIR 


French engraver of the early 19th century. Influenced by Bartolozzi. 


148. Larayrerre. Stipple engraving. 


Engraved after the painting by L. Barre. Proor BEFORE 
TITLE. FINE IMPRESSION PRINTED IN SANGUINE. Condi- 
tion very good. Original margins. 


First Session, Tuesday Evening, April 10th 


EDWARD LE DAVIS 


Painter and engraver. Born in Wales about 1640. He was articled as 
a pupil to Loggan, but not being treated to his satisfaction, he fled to 
France. In Paris he resumed the practice of his art. On his return he 
engraved some portraits and other subjects. 


LE DAVIS, EDWARD 


149. Louisr, DucHess or PortsmMoutTH. Engraving. 
Engraved after the painting by Sir Peter Lely. Good 
— impression, with letters. Fair condition, several thin 
ai y places in the corners. Cut on plate-line. 


PIERRE LOMBART 


French designer and engraver. Born at Paris, about 1620; where he died 
in 1681. He is said to have learned the principles of design under Simon 
Vouet 


LOMBART, PIERRE 


150. Joun Donne. Engraving. 
FINE tmprEssion, with inscription. Condition good. Cut 
on plate-line and remargined. 


ee 


MELCHIOR LORCH 


Danish painter and engraver. Born at Flensburg in 1527. He worked 
first with a goldsmith at Liibeck and later travelled much, even to Turkey, 
where he engraved the portrait of the Sultan. He died at Rome, probably 
about 1590. 


LORCH, MELCHIOR 


151. Martin Luruer. Engraving. 
Engraved in 1548. FINE IMPRESSION, IN PERFECT CONDI- 
ow TION. Cut just outside the plate-mark, 


vid 
H ¢ 


| 


/) 
a- 


€ 


First Session, Tuesday Evening, April 10th 


THOMAS GOFF LUPTON 


Mezzotint engraver. Born in London in 1791, studied under George Clint. 
In 1822 he received the gold Isis medal of the “Society of Arts” for his 
application of soft steel to the process of mezzotint engraving. He died 
in 1873. 


LUPTON, THOMAS GOFF 


152. Fawcrerr anp KemBLE as Caprain Copp AND THE Kine. 
Mezzotint. 

Not in Smith. 

Engraved after the painting by Clint. ScrarcHEep LET- 

TER PROOF BEFORE TITLE. VERY FINE IMPRESSION. Sur- 

face and condition good. Slightly stained and folded. 

Margin 14 inch all around. 


JAMES McARDELL 


English mezzotint engraver. Born in Dublin, 1729; died in London, 1765. 
Pupil of John Brooks, with whom he came to London about 1747. One 
of the best of the earlier mezzotinters. 


McARDELL, JAMES 


158. SamvueL RicHarpson. Mezzotint. 

Smith, No. 152. 

Engraved after the painting by Joseph Highmore. Pos- 
sibly an INTERMEDIATE STATE with the names of the artists 
but before the verses. One inch of the lower plate-margin 
lacking, a space which could hold 14 lines of verse only 
with much crowding. Impression fair, surface a little 
rubbed. 

The best portrait of the author of “Pamela and Clarissa.” 


McARDELL, JAMES 


ks 


154. Horace Watroir. Mezzotint. 

Smith, No. 186, 

Engraved after the painting by Sir Joshua Reynolds. 
SECOND sTaTE, with inscription. Fine mrpresstons. Sur- 
face and condition perfect. Margin 34 inch all around. 
A fine portrait of the celebrated critic and connoisseur. 


"a 


First Session, Tuesday Evening, April 10th 


McARDELL, JAMES 


155. Girt with Friure. Mezzotint. 
Not in Smith. 
Engraved after the painting by I. Molenaar, Good im- 


} ‘ o pression with letters. Surface and condition practically 
; perfect. Margin 14 inch all around. Mounted down for 
framing. 


McARDELL, JAMES 


156. Otrp Woman Reaprne. Mezzotint. 
Not in Smith. 
we Engraved after the painting by Rembrandt. Proor BE- 
3 a FORE TITLE. SPLENDID IMPRESSION, Surface fair. Con- 
DITION PERFECT. Margin 1/16 inch all around. 


JOHANN AUGUST EDWARD MANDEL 


Born in Berlin, 1810; died there, 1882. The last of the great line-engravers. 


MANDEL, JOHANN AUGUST EDWARD 


157. Cuarutes I. Engraving. 
% Apell, No. 33. 
} J - Engraved after the portrait by Sir Anthony Van Dyck. 
First state, with the artist’s name but before other let- 
ters, FrNr IMPRESSION WITH FULL MARGINS. 


MANDEL, JOHANN AUGUST EDWARD 


158. RapHarEt at THE AcE or 15. Engraving. 
Apell, No. 36. 
Engraved after the painting by Raphael. Proor on 
Inpia PAPER, before the title. SpLENDID IMPRESSION IN 
) A PERFECT CONDITION and in the original margins. FINE 
AND RARE. 
With Mandel’s blind stamp and from the collection of 
Carl Schloesser. 


ote 


. \ 
Bas ee me 
AK wear ents Ss 

A SA 

ys 
x Soe e 
iim ( . 


ENGRAVING 


ANDREA MANTEGNA. 


BaTTLE OF THE SEA Gops 
[ No, 159—Left wing of a double plate | 


ENGRAVING 


ANDREA MANTEGNA. 


BarrLe or THE Sra Gops 
[No. 159—Right wing of a double plate] 


First Session, Tuesday Evening, April 10th 


ANDREA MANTEGNA 


Born at Vincenza, 1481; died at Mantua, 1506. In his work for the first 
time, engraving became monumental, and it is probable that he had a 
great effect upon Diirer. Mantegna’s engravings remained the model for 
all subsequent artists in upper Italy until the time of Marcantonio Rai- 
mondi; that is to say, until the influence of the German School, and espe- 
cially of Diirer’s technique, gave the development of engraving in Italy a 
new direction. 


MANTEGNA, ANDREA 


159. THe BatTLe or THE SEA Gops. Engraving. 
Bartsch, No. 18. 
THE TWO PORTIONS OF THE FRIEZE COMPLETE. Engraved 
after the artist’s own design. SPLENDID IMPRESSION 
printed with the grayish ink with which some of the finest 
impressions were printed. The left hand part is just the 
slightest shade more brilliant than the right hand portion, 
but one seldom if ever sees so perfectly matched a pair 
as this. InN aBsOLUTELY PERFECT CONDITION, SHOWING ALL 
THE ACCIDENTAL SCRATCHES ON THE PLATE AND SHOWING 
ye THE PLATE-MARK INTACT ON ALL SIDES. In some cases 
‘qi there are margins from 1% to %&% inches outside the plate- 
mark. ImprREssIoNs IN SUCH IMMACULATE CONDITION AND 
PRESERVATION OCCUR SO RARELY AS TO BE ALMOST UNIQUE. 
Ir Is DOUBTFUL WHETHER THERE IS SO FINE A PAIR ANY- 
WHERE IN THE counTRY. The impressions in one of the 
finest and best known collections of early Italian engrav- 
ings, that of the “British Museum,” are both of them cut. 
EXTREMELY FINE AND OF THE UTMOST RARITY. 
In the Albertina there is a drawing by Diirer after one 
part of this print which has the date 1494, and which 
shows that this engraving was made before that date. 
Each section is herein reproduced on a separate page, 
in order to show full plate-mark, and margins of same. 
“The idea of portraying the unbridled physical joy of living, in 
contrast to the glorification of the ideal delights of the existence, 
in the pictures executed for Isabella’s Studio, may have occurred to 
Mantegna. These are not the mighty gods of Olympus, but the 
inferior deities of Nature, of the earth and the sea, who acknowledge 
none of the higher obligations, and who display unchecked their 


wanton elemental nature, giving a loose rein to all the exuberance of 
their joy in life.”’"—p. KristeLr1erR,—Andrea Mantegna. 


[See Reproductions of Both Sections | 


ETCHING 


Notre Dame 


161] 


CHARLES MERYON 


’ 


La GALERIE 


[ No. 


First Session, Tuesday Evening, April 10th 


JEAN LOUIS ERNEST MEISSONIER 


Celebrated French painter, etcher, and vignettist. Born at Lyons in 1815; 
died at Paris in 1891. 

“The several etchings which for him were only an intermezzo in his work, 
are among the most precious in the history of engraving.”—BERALDI. 


MEISSONIER, JEAN LOUIS ERNEST 


160. Le Fumevr. Etching. 
Beraldi, No. 13. 
Signed on the plate,—“E. Meissonier.” Regular impres- 
sion on India paper with full margin. 


1) ( 
CHARLES MERYON 


Celebrated French etcher. Born in Paris in 1821; died there in 1868. 
“But we must turn now to a great poet-etcher, one of the greatest masters 
that the copper-plate has ever known and one of the most tragic and piteous 
figures in the history of art. When Charles Meryon after his sea-wan- 
derings and his failure as a painter, found his true vocation with needle 
and mordaunt, his strange weird genius, haunted by the mysterious beauty 
that the centuries had stamped upon Paris, expressed itself through an 
artistic record of her old buildings that was soundly while imaginatively 
picturesque, yet personally reflective to an extraordinary degree.”—maLcoLm 
SALAMAN. 


MERYON, CHARLES 


161. La Gateriz, Notre Dame. Etching. 

Delteil, No. 26. 

Signed on the plate in the margin,x—“C. Meryon del. 
3 q ‘ sculp. 1853.” Turtrp state before the address was ef- 
| ex faced and title added. SupErRB IMPRESSION ON PAPIER 
\ At VERDATRE PRINTED BY THE ARTIST. In perfect condition 
eg | except for one or two slight pin-pricks. One inch mar- 
Pas, gins all around. ExcrEpINGLY FINE AND RARE. 
\ ” This view was described by Victor Hugo in “Notre Dame 
de Paris” in the chapter entitled ‘‘A Vol d’Oiseau.” 


[See Reproduction | 


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Steet. tal! weuile otal’ bees 


CHARLES MERYON. ETCHING 
La Morcuet 


| No. 163] 


PA nm 


First Session, Tuesday Evening, April 10th 


MERYON, CHARLES 


162. La Pomrr, Notre Dame. Etching. 


Delteil, No. 31. 

Signed on the plate in the margin,x—‘C. Meryon ft. 
SrxTH stare, with the oblique lines on the clouds to the 
left but before the title in margin below. SpLenpip m- 
PRESSION ON PAPIER VERDATRE. PRINTED BY THE ARTIST. 


> 


IN IMMACULATE CONDITION AND WITH FULL MARGINS. Ex- 
TREMELY FINE AND RARE. 

Proofs printed on papier verdatre are considered espe- 
cially desirable by Meryon collectors. 


MERYON, CHARLES 


Ors 


ee 
_ 
om 


163. La Morevur. Etching, 


Delteil, No. 36. 

Signed on the plate,—“C. Meryon del. sculp.” Fourru 
sTaTE, before the title was added. BriLiiaNtT IMPRESSION 
in brownish ink. Prinrep sy Meryon. In PERFECT 
CONDITION and with wide margin. VERY FINE AND RARE. 
Meryon’s poem on this subject in W. A. Bradley’s trans- 
lation runs as follows: 


“Come, view, ye passerby, 
Where her poor children lie; 
A mother charitable, 
This Paris that you see 
T'o them, at all times free, 
Gives both a bed and table... .” 


[See Reproduction | 


lt 


First Session, Tuesday Evening, April 10th 


JEAN FRANCOIS MILLET 


Born in the little village of Gruchy, on the Norman coast, October 4, 1814. 
Died at Barbizon, January 20, 1875. 

“A man who had given his whole life to etching only, who had never 
thought of painting, and had never cared for those effects proper to 
painting and not to etching, could not have been more truly and markedly a 
born etcher than Millet showed himself to be—few though were the plates 
and many though were the canvases he worked upon. To depend upon 
lines, not tones, for expression; to make every line ‘tell, and to use 
no more lines than are absolutely needed to tell exactly what he wants to 
say; to speak strongly, concisely, and to the point; to tell us much while 
saying little; to suggest rather than to elaborate, but to suggest in such 
a way that the meaning shall be very clear and individual and impressive— 
these are the things the true etcher tries to do. And these are the things 
that Millet did with a more magnificent power than any man, perhaps, 
since Rembrandt. Other modern etchings have more charm than his— 
none have quite so much feeling. Others show more grace and delicacy of 
touch—none show more force or certainty, and none a more artistic 
‘economy of means.’”—mrRs. SCHUYLER VAN RENSSELAER. 


MILLET, JEAN FRANCOIS 


164. Peasant wirH WHEELBARROW. Etching. 


Delteil, No. 11. 
Signed on the plate,—“J. F. Millet.” Tirp stare, with 


ae the bevelled plate but before the complete erasure of 


Delatre’s address, BrauTIFUL IMPRESSION IN WARM RICH 
BROWNISH INK. Proor PRINTED BY DELATRE AND ESPE- 
CIALLY MARKED BY HIM IN PENCIL,—‘tres belle Epreuve 
Aug. Delatre.” Is perrectr conpitTion and with full mar- 
gin. VERY FINE AND RARE. 


“A laborer, in a straw hat and a knitted waist-coat, is barrowing a 
load of manure through a gateway opening from the yard into the 
orchard. In the background is a well, shaded with shrubs and pen- 
dent boughs. Beyond the orchard gate are bee-hives; fruit trees dip 
and bend over the orchard wall; and over everything is the sense of 
a hot, still, drowsy summer afternoon.”—w. E. HENLEY,—“Jean Fran- 
cois Millet.” 


MONOGRAMIST C. B. 


This master engraved in the style of D. Hopfer, and in view of the fact 
that the Hopfer mark is nearly always to be found in his plates, it is 
assumed that he was a member of the Hopfer family. 


MONOGRAMIST C. B. 


165. Cuartes V. anp His Broruer Ferpinanp. Etching. 


Bartsch, No. 3. 
SPLENDID IMPRESSION IN PERFECT CONDITION. Cut out- 
side plate line. VERY FINE AND RARE. 


First Session, Tuesday Evening, April 10th 


JOHANN GOTTHARD VON MULLER 


Born at Bernhausen, near Stuttgart, 1747; died in Stuttgart, 1830. Pupil 
of J. G. Wille. 


MULLER, JOHANN GOTTHARD VON 


166. THe Barrie or Bunker Hitt near Boston. Engraving. 

Engraved after the painting by John Trumbull. Impres- 

: sion with letters. Conpition perFect. Margin 34 to 14 
lo inches all around. 

On the back of the picture (when it was framed) was written the 

following note by Mr. Purdy,—“Very fine impression, quite as good 


as a proof, late in the possession of the Trumbull family. Very rare. 
Dec. 16, "T4.—s. H. P.” 


ELEANOR GWYN 


Born about 1650; died about 1690. An English actress and celebrated 
beauty; after she had achieved success as an actress, she became the 
mistress of Charles II. ‘The subject of Peter Cunningham’s “The Story of 
Nell Gwyn.” , 

On account of the great interest in portraits of Nell Gwyn, it has been 
thought best to list the same, under this heading, rather than distribute 
them under the various engravers. 


NELL GWYN 


167. Nett Gwynne. Mezzotint. 
Smith, No. 6. 
Engraved by Peter Van Bleeck after the painting by Sir 
Peter Lely. Onty starr. Goop Impression. Surface 
and condition perfect. Margin 14 to % inch all around. 
Rare. 


ao 
a 
‘ 


“This print is probably from a genuine picture of the personage, 
although it is different from any of the contemporary prints. The 
attitude has some resemblance in parts to Lady Mooreland and Cath- 
erine Sidley.”—s. c. sMITH. 


NELL GWYN 


168. Nett Gwyn. Mezzotint. 
Smith, No. 19. 
Published by R. Tompson. Fine tmpresston, with in- 
scription. Surface and condition fair. Mended spot in 
lower left corner. Cut on the plate-line, Together with 


First Session, Tuesday Evening, April 10th 


| No. 168—Continued | 


a modern reproduction of the same subject, 
The inscription reads as follows: 


“Had Paris seen her he had changed his suit 
And for this Hellen given the Golden fruit 
The Subjects’ wishes and the Sovereign’s Joy 
Who burns with better flames our second Troy. 
Witt, beauty; goodness, and good humor too 
Are more than any Venus else can shew.” 


Together, 2 pieces. 


NELL GWYN 


169. Mapamre ELLEN Gwinn with Her Sons. Mezzotint. 
Smith, No. 20. 
ee Published by R. Tompson after the painting by Sir 
ff 5 Peter Lely. Srtconp state, with inscription. Fine 1m- 
PRESSION. Surface and condition good. Margin 1/16 
inch all around. Rare. 


NELL GWYN 


170. Netxt Gwyn. Mezzotint. 
Smith, Page 1657, No. 50. 
Engraved by an unknown artist, similar to Tompson 
M| (Smith No. 19) but with dress on, and vase to right. 
gi Onxiy sTATE. Fine mpression. Surface and condition 
perfect. 


NELL GWYN 


171. Exesnor Gwynne. Stipple Engraving. 
Engraved by John Ogborne after the painting by Sir 
= Peter Lely. SPLENDID IMPRESSION WITH LETTERS. Con- 
4U a dition very good. Cut just inside the plate-line. VeERy 
FINE AND RARE. 


First Session, Tuesday Evening, April 10th 


NELL GWYN 


172. Nett Gwynne, Her Two Sons anp Cuarues II. Mezzo- 
oe tint. 
ag (be Not in Smith. 
Y Engraved by Jan Verkolje after his own design. Good 


impression. Surface and condition fair. Several minor 
folds. Margin 1/16 inch all around. 


NELL GWYN 

173. Mapam Gwin. Engraving. 
Engraved by G. Valck after the painting by Sir Peter 
Lely. Frve rmpresston with the inscription. Condition 
very good. Margin 1 inch all around. 


The inscription reads as follows,— 


c~ 


“The Sculptors part is done the feature’s hitt 
of Madam Gwin, no Arte can shew her Witt.” 


NELL GWYN 


174. Mapam Exinora Gwynne. Mezzotint, 
Engraved by A. de Blois after the painting by Sir Peter 
Lely. Goop impression with letters. Surface and con- 
dition fair. Margin 14 inch all around. 
From the Tiffin collection. 


NELL GWYN 


175. Mapam Exinora Gwinne. Mezzotint. 

| Engraved by Gerard Valck, after the painting by Sir 
rose Peter Lely. SpLEeNnpip mmpreEssion with letters. Surface 
2 and condition perfect. FuLui MARGINS. 


NELL GWYN 


176. Mapam Evinora Gwynne. Engraving. 
Engraved by Gerard Valck after the painting by S. 
ins Couper. FINE IMPRESSION IN PERFECT CONDITION, Cut 
HY on the plate-line. Rare. 


First Session, Tuesday Evening, April 10th 


NELL GWYN 


177. CHARLEs and James Beaucuarre (CHiLpREN or NEL Gwyy).. 
Engraving. 
5 =a Engraved by Robert White. Britiianr mpression with 
/ letters. Conpirion perFEcT. Cut on the plate-line. 
From the collection of F, Walker. 


NELL GWYN 


178. Mapam Gwin. Engraving. 
Contemporary engraving in a rather crude style by an 
/ Ar unknown artist. Good impression in good condition. Cut 
“ on the plate-mark. ExrreMELy RARE. 


NELL GWYN 


179. EiEanor Gwynn. Mezzotint. 
Smith, No. 60. 
/ 4 te Engraved by Valentine Green after the painting by Sir 
Peter Lely. Srconp state, with inscription, Fre im- 
PRESSION. Surface fair. Condition good. Margin 14 
inch all around. 


NELL GWYN 


180. Lapy wirn Lams. Mezzotint. 
Smith, No. 191. 
Engraved by James McArdell after the painting by Sir 
ld > Peter Lely. Stconp state. Good impression. Surface 
and condition fair, Slight mended tear on the margin. 


From an unidentified collection. 
“Mentioned by Granger and Bromley as a portrait of Nell Gwynn,,. 
but it does not at all resemble her.’—s. c. smrrH. 


NELL GWYN 


181. Newt Gwyn anp CuHartes II. Mezzotint. 
ee Engraved by an unknown artist. Fair impression. Sur- 
/ J face and condition good. Cut on the plate-line. 


First Session, Tuesday Evening, April 10th 


JOHN OGBORNE 


Born at London 1725; died in 1795. He was a scholar of Bartolozzi’s, and 
engraved in the dotted manner. Several of the large plates for Boydell’s 
“Shakespeare Galleries” are among his best work. In his later plates, line 
is combined with stipple. 


OGBORNE, JOHN 


182. Mrs. JorpAN IN THE CHARACTER OF THE Romp. Stipple En- 


graving. 
Engraved after the painting by George Romney. First 
sTATE, with the word Romp in place of Country Girl. 
SPLENDID IMPRESSION. PERFECT CONDITION. Cut just 
outside the plate-line. VERY RARE AND FINE. 


[See Reproduction | 


DANIEL ORME 


Engraver and miniature painter. He worked about 1800 and exhibited 
many portraits in miniature at the “Royal Academy,” between 1797 and 
1801. He engraved in stipple many portraits of persons celebrated at the 
time. 


ORME, DANIEL 


183. Peasant Lire. Stipple Engraving. 


Five engravings of English peasant life. CotorEep BY 
HAND, FINE CONDITION. 
Framed. 


SAMUEL PALMER 


English watercolor painter and etcher. Born in 1805; died at Reigate in 
1881. 

“His romantic idealism not worthily carried on the sentiment which inspired 
much of Blake and all of Calvert.”—a. m. HIND. 


PALMER, SAMUEL 
184. THe Mornine or Lire. Etching. 


ee 


Hardie, No. 10. 
Signed on plate,—‘S. Palmer.” LerrERED IMPRESSION, 


on India paper with full margins. ' Published by “The 
English Etching Club.” 


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[ No. 


First Session, Tuesday Evening, April 10th 


WILLIAM PETHER 


Born at Carlisle, 1731; died, 1795. Painted portraits and miniatures; 
studied mezzotinting and attained great excellence. 


PETHER, WILLIAM 


185. Man Smoxine. Mezzotint. 

Not in Smith, 

Engraved after the painting by Metsu. StTipPpLED LETTER 
es PROOF BEFORE TITLE. VERY FINE IMPRESSION. Surface 
I< nearly perfect, mended tear in upper margin and slight 
printing crack on the side. Margin 1% inch all around. 


[ Atso, by another engraver. | 


Maw in Hat anp Croax. Mezzotint. 
Engraved by an unknown engraver, probably of the Dutch 
school. PRooF BEFORE ALL LETTERS. BRILLIANT IMPRES- 
sion in perfect condition. 


Together, 2 pieces, 


JOHANN THEOPHILUS PRESTEL 


German painter and engraver. Born in Swabia, 1739; died at Frankfort, 
1808. He travelled in Italy and then settled at Niiremberg where he 
married the engraver Maria Catharina Holl, who assisted him on some 
of his best plates. 


PRESTEL, JOHANN THEOPHILUS 


186. AtLecory. Woodcut. 
Chiaroscuro woodcut engraved on two blocks after the 
design by Cigozze(?) Proor BEFORE ALL LETTERS. 
SPLENDID IMPRESSION IN PERFECT CONDITION. Cut out- 
side the plate-mark. 


First Session, Tuesday Evening, April 10th 


MARC ANTONIO RAIMONDI 


Born in Bologna about 1480; died there about 1530. Started work in the 
atelier of Francesco Francia. About 1505, he came under the strong 
influence of Diirer. From 1509 to 1510, he seems to have been much under 
the influence of Lucas van Lyden. Shortly after going to Rome, he 
entered the studio of Raphael, with whose name his own is associated 
most closely in the history of engraving. 


RAIMONDI, MARC ANTONIO 
187. ALEXANDER Piactnc Homer’s Work IN THE Toms oF Darivws. 
Engraving. 
Bartsch, No. 207. 


Engraved after the design of Raphael. Supers IMpPREs- 


as : 
/ Lo SION iN PRACTICALLY PERFECT CONDITION. Several thin 
spots and minor folds. Margin 44 inch all around. Very 
FINE. 


“This print is one of the most perfect that Mare Antonio en- 
graved after Raphael.”—sarrscuH. 


RAIMONDI, MARC ANTONIO 


188. Curtps Dancrnc. Engraving. 
| Bartsch, No. 217. 
& ve “i Engraved after the design by Raphael. Signed on the 
plate,—“M. A. F.” SPLENDID IMPRESSION WITH PLATE- 
a - wine intact. A few thin places, otherwise in perfect con- 
L U dition. ExTREMELY RARE. 
From the P, Gellatly collection. 


RAIMONDI, MARC ANTONIO 


189. Mount Parnassus. Engraving. 
Bartsch, No. 247. 
Signed on the plate with the monogram,—“‘M. A. F.” 
Engraved after Raphael’s fresco. Very FINE CLEAR IM- 
PRESSION IN UNUSUALLY GOOD coNDITION. A few small 
ed folds and mended spots. VERY FINE AND RARE. 

§ “Raphael painted this subject in the palace of the Vatican, but 

this engraving was made from a drawing differing in several respects 


from the painting. It is one of the most beautiful of Mare An- 
tonio’s engravings and also one of the best known.”—sartscH. 


First Session, Tuesday Evening, April 10th 


RAIMONDI, MARC ANTONIO 


190. Venus Et L’Amovur. Engraving. 
Bartsch, No. 311. 
Engraved probably after a drawing by Raphael. Spien- 
r | DID EARLY IMPRESSION in very good condition. Margin 
oh 14 inch all around. One slight mended spot. 

With two unidentified collectors’ marks. 

“This print is one of the best things that Mare Antonio has en- 


graved after a drawing which is believed to be the work of Raphael.” 
—BARTSCH. 


RAIMONDI, MARC ANTONIO 


191. La Srpytte. Engraving. 
Engraved by an unknown engraver of the school of Marc 
Antonio. SPLENDID IMPRESSION IN PRACTICALLY PERFECT 
his conpiTIon. One very slight thin place. 
Av From the collections of Pierre Mariette 1704, Willets 
1812, Sir Mark Sykes, and Mary Jane Morgan. 


PAUL RAJON 


Born at Dijon, 1844; died in Paris, 1888. 

“He studied etching under Gaucherel and Flameng, and at the Salon 
of 1869 received a medal. In the following year, and again in 1875, he 
received medals for his etchings; and at the Universal Exposition of 1878, 
he was placed Hors Concours for his masterly portrait of Darwin.”—n. 
BERALDI. 


RAJON, PAUL 


192. La QuERELLE Apaisé&e. Etching. 
f Beraldi, No. 19. 
Etched after the painting by B. Vautier. SigNED ARTIsT’s 
PROOF. SPLENDID IMPRESSION IN PERFECT CONDITION. 


RAJON, PAUL 


193. Lapy Crewe. Etching. 
Beraldi, No, 100. 
Etched after the painting by Humphrey. Sic¢nep art- 
IST’S PROOF, SPLENDID IMPRESSION IN PERFECT CONDITION. 
Pier EXTREMELY FINE. 


U This plate was highly praised by Beraldi. 


First Session, Tuesday Evening, April 10th 


RAJON, PAUL 
194. Heap or a Youne Girt. Etching. 


SIGNED ARTIST’s PROOF, printed in reddish ink on brown- 
ish paper. IN PERFECT CONDITION AND WITH FULL MAR- 
GINS. 

A charming composition. 


REMBRANDT VAN RIJN 


Celebrated Dutch painter and etcher. Born at Seyden in 1607; died at 
Amsterdam in 1669. Pupil of Swanenburch and Lastman, but largely 
self-taught. 

“The opinion among etchers which enthrones Rembrandt as King of his 
craft is the most recent instance of perfect unanimity among people of 
all nationalities. As we all say that Phidias was the greatest sculptor, 
Homer the greatest epic poet, and Shakespeare, the greatest dramatist, so 
we are all agreed on the world wide supremacy of Rembrandt. In his 
own lines of work there is no one in all history to be compared with Rem- 
brandt.”—». G. HAMERTON. 

“The whole of Rembrandt is in his engraving—his mind, tendencies, 
imagination, reverie, good sense, chimeras, difficulties of rendering the 
impossible, realities in nothingness. It is the same craftsmanship, the same 
set purpose, the same carelessness and insistence, the same strangeness of 
style, the same desperate and sudden success achieved by expression.”— 
EUGENE FROMENTIN. 


REMBRANDT VAN RIJN 


195. Rempranpr anv Saskia. Etching. 


nS 


Bartsch, No. 19. 

Signed on the plate,—“Rembrandt f. 1636.” Srconp 
sTATE, after the removal of the slipped-stroke over 
Saskia’s right eyebrow. FINE IMPRESSIONS AND IN PER- 
FECT CONDITION, with small margins. 


From the Galichon and John Webster Collections. 


REMBRANDT VAN RIJN 


196. RempranptT anv Saskia. Etching. 


Bartsch, No. 19. 


h A a Signed on the plate,—‘Rembrandt f. 1636.” Srconp 


oe 


state. Modern impression. Fair condition. Cut outside 
plate-mark all around. 


First Session, Tuesday Evening, April 10th 


REMBRANDT VAN RIJN 


197. THe Triumpeu or Morpecar. Etching. 


Bartsch, No. 40. 

Unsigned. Etched about 1640. ONLY sTaTE. SPLENDID 
IMPRESSION WITH BURR. IN PERFECT CONDITION, with 1 
inch margin all around. A few small printer’s hair-line 
folds, and a small skillfully mended spot near the top. 
FINE AND RARE. 

“First dry-point, then finished with delicate biting; then strongly 
accented with dry-point. A delightful illustration of the story. Note 
the subtlety with which light and shadow are interchanged and yet 


kept broad, and how all the curves center in Mordecai’s figure.”— 
c. J. HotMES,—“Notes on the Art of Rembrandt.” 


REMBRANDT VAN RIJN 


198. Curist anp THE TrisutE Monry. Etching. 


Bartsch, No. 68. 

Unsigned. Etched about 1634. Srconp starr. Good 
impression with small margin. 

From the J. Peoli and Ambrose Firmin-Didot Collec- 


tions. 


REMBRANDT VAN RIJN 


199. A View or AmstrerpAM. Etching. 


Bartsch, No. 210. 

Unsigned. Etched about 1640 or earlier. Fixe mvpreEs- 
SION on paper water-marked with a coat of arms and two 
lions. Margin 1/16 inch on top and side, cut on the 
plate-mark below. In prerFrect conpiTion. The quality 
and immaculate condition of the paper adds greatly to 
the beauty of the impression. Rare. 

From the De Paar and Ambrose Firmin-Didot Collec- 
tions. 


[See Reproduction | 


[661 ON] 


WVGCYALSWY AO MATA 


ONIHODH “NCTH NVA CAONVYUEINAY 


PEI KM GE 


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Oaphnia aes aoe poe a a Le eee 
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AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE BY ORDER OF ALBERT W. PROSS, ESQ., 
AND THE NEW YORK TRUST COMPANY, AS EXECUTORS 


Second Session, Numbers 200 to 302, inclusive 


WEDNESDAY EVENING, APRIL ll1th, AT 8:00 O’CLOCK 


SAMUEL WILLIAM REYNOLDS 


Born in England, 1773; died at Bayswater, 1835. Pupil of C. H. Hodges. 


REYNOLDS, SAMUEL WILLIAM 


200. Garrick IN THE OHARACTER OF ABEL DrucceErR.~ Mezzotint. 
Whitman, No, 98. 

AG bases Engraved after the painting by J. Zoffany. Firsr stare, 
before title and with the error in the artists’ names, the 
name Sir Joshua Reynolds being pasted over by a slip 
containing the name “J. Zoffany.” SpLENDID IMPRESSION. 
Surface and condition good. Margin 14 inch all around. 


REYNOLDS, SAMUEL WILLIAM 


201. CHapeau DE Partie. Mezzotint. 
Whitman, No. 442. 
Engraved after the painting by Rubens, Fourru stare. 
i Good impression. Surface and condition fair. Mounted 
down. Margin 1 inch all around. 
There is a manuscript note on an impression of this plate 
to the effect that “this Print was chiefly engraved by 
Coussins.” 


Second Session, Wednesday Evening, April 11th 


ALEXANDER HAY RITCHIE 


Scotch-American engraver. Born at Glasgow in 1822. He emigrated to 
America where he practiced his craft in line and mezzotint. 


RITCHIE, ALEXANDER HAY 


202. Jno. Wituiams, Fourtn BisHop oF Connecticut. Engray- 
ing. 

Mixed engraving after the painting by D. Huntington. 

Good impression with inscription. Signed in pencil by 

both painter and engraver. On India paper with full 
margin. 


— 
\ 
\ 


CHRISTOFANO ROBETTA 


Born in Florence, 1463, and worked until 1522. 

“The prints signed with his name merit special. attention. Drawn with 
unerring beauty and elegance, and engraved with a boldness and ease rare 
amongst the early Italians, they may sometimes be marred by timidity and 
inexperience, never by want of taste nor incorrectness of design.”— 
DUPLESSIS. 


ROBETTA, CHRISTOFANO 


203. THe AporATION oF THE Maci. Engraving. 
Bartsch, No. 6. 
as Signed at the plate,—‘Robetta.” FINE IMPREsSION, 
) rv slightly gray in places on heavy paper water-marked, 
i “M within a shield.” Folded across middle and with 
one or two slight thin spots, condition otherwise unusually 
fine. Margin 1/16 inch all around. Rarg. 


THOMAS ROWLANDSON 


English artist. Noted as a caricaturist. Born in London, 1756; died 
in 1827. 


Among his plates are the celebrated “Dr. Syntax” engravings. 


ROWLANDSON, THOMAS 


204. THe Brau anp THE BELLE. Drawing, 


Original drawing with pen and watercolor wash. Signed, 
rom —*“Rowlandson.” 


Second Session, Wednesday Evening, April 11th 


EGIDIUS SADELER 


Dutch engraver, born at Antwerp in 1575. He went to the court of Austria 
and worked in Prague, where he died in 1629. 


SADELER, EGIDIUS 


205. Heap or an Otp Man. Engraving. 


ee 


Engraved after the design by Albrecht Diirer. Good 
impression with letters. Ixy PERFECT CONDITION and 
with 14 inch margin all around. 


JOSEPH SAUNDERS 


English mezzotint engraver, flourished in London about 1772-1797. 


SAUNDERS, JOSEPH 


206. Davin Garrick as STEWARD OF THE STRATFORD JUBILEE, 


1769. Mezzotint. 
Smith, No. 4. 
Engraved after the painting by B. Van der Gucht. Src- 
OND STATE, with inscription. Good impression. Surface 
fair. Condition good. Cut on the plate-line. 


PETER SCHENK 


Painter, etcher, mezzotinter, and art publisher. Born at Elberfeld, 1645; 
worked at Amsterdam, where he died in 1715. 


SCHENK, PETER 


207. Tur Propicat Son. Mezzotint. 


ar a 


mY ¢ 
o~ 


Andresen, No. 14, 
Engraved after the painting by Geraers. VERY FINE 
IMPRESSION. Surface and condition perfect. Margin 


1/16 inch all around. 


Second Session, Wednesday Evening, April 11th 


WILLIAM SHERWIN 


Born in Wellington, Shropshire, about 1650, and flourished from 1670 to 
1711; died about 1715. 


SHERWIN, WILLIAM 


208. DanreL Drror. Engraving. 
Good impression with the inscription. IN PERFECT CON- 
DITION. Cut on the plate-mark. 
The inscription reads as follows,— 
“Here you may see an Honest Face. 
Arm’d Against Envy and Disgrace, 
Who Lives Respected still nm Spite 
Of Those that Punish them yt. Write.” 


JOHN SIMON 


“The engraver who must be considered as almost the rival of John Smith 
was John Simon, who was born in Normandy about 1765, and after prac- 
ticing line engraving at Paris, came to London as a refugee in the early 
years of the century. Upon reaching this country he seems to have 
devoted himself exclusively to mezzotint, and with such success that ere 
long he had gained a complete mastery over its -technicalities. He con- 
tended with John Smith for premier position, and when the latter dis- 
agreed with Kneller, Simon succeeded him and engraved over forty plates 
from Kneller’s pictures.”"—a. wuitman,—“Masters of Mezzotint.” 


SIMON, JOHN 


209. Puirie, Eart or CHESTERFIELD. Mezzotint. 

aie Smith, No. 38. 

: Engraved after the painting by W. Hoare. Srconp 
STATE, with letters. Fine rmpression. Surface good. 
Condition perfect. Margin 1% inch all around. 

A fine portrait of the celebrated author of the “Letters.” 


SIMON, JOHN 


210. Joun Mitton. Mezzotint. 

Smith, No. 104. 

Engraved after the painting by R. White. First state, 
before the change in the address. FINE mMPREssION. Sur- 
face and condition very good. A slight mended tear and 
a partial erasure in the inscription. Margin 14 inch all 
around. 

From the collection of Queen Victoria of England. 


Second Session, Wednesday Evening, April 11th 


SIMON, JOHN 


211. Str Isaac Newron. Mezzotint. 
Smith, No. 109. 
ld «el Engraved after the painting by Sir Godfrey Kneller. 
: On ty state. Good impression. Surface and condition 
fair. Cut on the plate-mark. 


SIMON, JOHN 


212. Mrs. ANNE OtpFieLp. Mezzotint. 
Smith, No. 113. 
ss Engraved after the painting by I. Richardson. Txirp 
Ai J yes sTATE, before entire inscription was changed. Condition 
| and surface good, a few slight mended tears. Cut just 
outside the plate-mark. 


SIMON, JOHN 


213. ALEXANDER Pope. Mezzotint. 
Smith, No. 125. 
Engraved after the painting by M. Dahl. Inpe- 
1 sz — TERMINATE sTATE. Lower margin trimmed 3/16 inch 
¥ inside lower plate-mark, thereby cutting off space where 
there may or may not have been an address. Surface 
and condition fair. Two cross folds. 


SIMON, JOHN 


214. Maruew Prior. Mezzotint. 
Smith, No. 127. 
Engraved after the painting by I. Richardson. First 
: oe sTATE, before Richardson’s address. SPLENDID IMPRES- 
lo d, ston. Surface and condition practically perfect. Mar- 
gin 1/16 inch all around. 
The best portrait of the poet. 


Second Session, Wednesday Evening, April 11th 


JOHN SMITH 


Born, 1652; died, 1742. 


“Even in his own time the merits of this engraver were highly appreciated, 
and subsequent writers, as Walpole, have considered him one of the great 
improvers of art. He certainly excelled in brilliancy of effect, and was 
powerful, clear and correct in drawing.”—cHALONER SMITH. 


SMITH, JOHN 


215. Wittiam Concreve. Mezzotint, 
Smith, No. 54. 


7 


very good. Margin 1g inch all around. 


P Engraved after the painting by Sir Godfrey Keller. 
‘ing Tuirp staTE. Fair impression. Surface and condition 


“Born near Leeds, 1669. educated in Ireland; wrote many plays, 
amongst them, the Double Dealer, Mourning Bride, and Way of the 
World. His carriage was upset in the summer of 1728 at Bath, and 
this is supposed to have accelerated his death in January, 1729.”— 


J. C. SMITH. 


SMITH, JOHN 


216. Mary Bratrix, QuEEN or James II. Mezzotint. 


Smith, No. 171. 


es 
ee | 
& 
\ 


around. 


SMITH, JOHN 


217. James, Duke or Ormonp. Mezzotint. 
Smith, No. 194. 


Engraved after the painting by N. de Largilliére. 
sTATE, before the modern imprint. CLEAR IMPRESSION. 
Surface and condition perfect. Margin 14 inch all 


} B 
co 
iF 
Uj 


SMITH, JOHN 


Engraved after the painting by Sir Godfrey Kneller. 
ONLY sTATE. VERY FINE IMPRESSION. Surface and con- 
dition perfect. Margin 14 inch all around. 


218. THomas, Eart or Pemproxe. Mezzotint. 


Smith, No. 198. 

Engraved after the painting by W. Wissing. Srconp 
STATE, before the modern imprint. Fine, CLEAR IMPRES- 
sion. Surface and condition perfect. Margin 14 inch 
all around. 


Second Session, Wednesday Evening, April 11th 


SMITH, JOHN 


219. ALEXANDER Porr. Mezzotint. 
Smith, No. 208. 
ld ¢ Engraved after the painting by Sir Godfrey Kneller. 
. Tuirp stare. Surface and condition perfect. Margin 
1 to 11% inches all around. 


SMITH, JOHN 


220. Richard STEELE. Mezzotint. 
Smith, No. 244. 
/ oa Engraved after the painting by J. Richardson. Good 
IMPRESSION. Surface and condition very good. Margin 
14, to %4 inch all around. 


SMITH, JOHN 


221. Witi1am WycuHer.Ley. Mezzotint. 

Smith, No, 284. 
Engraved after the painting by Sir Peter Lely. Srconp 
STATE, with inscription. Fine mpression. Surface and 

] fj- condition perfect. Margin 1/16 inch all around. 

td This portrait, though painted when Wycherley was 28 
years old, was prefixed to a volume of his poems published 
in his 64th year. The quotation from Virgil pathetically 
alluded to the difference between his appearance at the 
time this picture was painted and that at the period of 
the publication of the book. 


JOHN RAPHAEL SMITH 


Born at Derby, 1752; died at Doncaster, 1812. 

“A very considerable number of his prints are from his own designs and 
pictures . . . The prints published by him between the years 1775 and 
1787, are, nearly without exception, amongst the most admirable productions 
ever executed in mezzotint.”—cHALONER SMITH. 

“Among all the engravers the art of mezzotint has produced, J. R. Smith 
is perhaps the most skilful and accomplished.”—aLrreD WHITMAN. 


SMITH, JOHN RAPHAEL 


222. Miss Carrer. Mezzotint. 
Smith, No. 34. 
Engraved after the artist’s own design. UNpDEscRIBED 
ae STATE, with the address of Wm. Humphrey only. Goop 
/3 IMPRESSION. Fine surface and condition. Margin 14 
inch all around. 


Second Session, Wednesday Evening, April 11th 


SMITH, JOHN RAPHAEL 


—— 


223. Fuirtitta. Stipple Engraving. 


Stippled engraving after the artist’s own design. Sr1p- 
PLED LETTER PROOF. VERY FINE IMPRESSION IN PERFECT 
CONDITION. Cut just inside the plate-line all around. A 
charming subject. 


WILLIAM SMITH 


English etcher and engraver, flourished, perhaps, at London about 1824. 


SMITH, WILLIAM 


224. Joun Gay. Etching. 


Smith, No. 1. 

Engraved after the painting by Zinck. First stare, 
scratched letter proof. SprenpIp IMPREssION. Surface 
and condition practically perfect. One or two slight pin- 
pricks. Margin 14 inch all around. 


“Born near Barnstaple in 1688 apprenticed to a silk mercer in 
London, but quitted this employment, became known to Swift, Pope, 
and other literary persons, and devoted himself to poetry. In 1727 his 
famous “Beggar’s Opera” met with the greatest success. He was 
patronized by the Duke and Duchess of Queensbury. He died in 
1732, and was buried in Westminster Abbey.”—s. c. sm1TH. 


SIR ROBERT STRANGE 


Born in one of the Orkney Islands, 1728; died at London, 1792. 
“Strange has a style of his own—rich and peculiarly adapted to the render- 
ing of flesh tints."—rHE GOLDEN AGE OF ENGRAVING. 


STRANGE, SIR ROBERT 


Ca 


225. Tue Cuitpren oF Cuarisrs I. Engraving. 


Engraved after the painting by Sir Anthony Van Dyck. 
Regular impression with inscription. Margins intact. 


Puitie, Eart-or PemBroxe. Engraving. 


Engraved by Peter Lombart after the painting by Sir 
Anthony Van Dyck. Impression with letters. Condi- 
tion good. One or two pin-pricks. Margin 1/16 inch 
all around. 

Together, 2 pieces. 


Second Session, Wednesday Evening, April 11th 


JACQUES JOSEPH TISSOT 


French painter and etcher. Born at Nantes in 1836. Lived for many 
years at London. 

“Son oeuvre, un des plus importants de la gravure originale dans ces 
vingt derni¢res années.”—BERALDI. 


TISSOT, JACQUES JOSEPH 


226. Miss N., or La Friteuse. Etching. 
Beraldi, No. 19. 
— Proor on Hoxuianp Paper, signed and stamped by the 
40 © artist. FivgE IMPRESSION IN PERFECT CONDITION. Origi- 
nal margins. Mounted down for framing. 


MavourneEEN. Etching. 
Beraldi, No. 24. 
Proor on Hoxrianp Paper, signed and stamped by the 
artist. FivE IMPRESSION IN PERFECT CONDITION. Mar- 
gin 214 inches all around. Mounted down for framing. 
“Maitresse point-seche; morceau capital de l’oeuvre.”— 
BERALDI. 


Tue Portico or tHe Nationat Gautery. Etching. 
Beraldi, No. 32. 
Proor on Hoiuanp Paper, signed and stamped by the 
artist. Frye IMPRESSION IN PERFECT CONDITION. Origi- 
nal margins. 


Together, 3 pieces. 


P. W. TOMKINS 


“P. W. Tomkins (1760-1840), also the Queen’s engraver, was, perhaps, 
the most gifted and refined exponent of Bartolozzi’s method, but his ori- 
ginality proclaimed itself and his art had its individual charm. Bartolozzi 
himself generously said of him: ‘He is my son in the art, he can do all I 
can in this way and I hope he will do more.’ Contemporary life and art 
found him readily responsive, and his domestic and idyllic prints have 
extended their appeal from his own day to this.”—m. c. sataman,—<‘Old 
Engravers of England.” 


TOMKINS, P. W. 


227. Musipora. Engraving. 
Stipple and his engraving after W. Hamilton. Prinrep 
IN coLtor and retouched largeley by hand. Lettered im- 
3 /) e pression. ConpiTIon PERFECT. Ample margin. 


/( 


V 


Second Session, Wednesday Evening, April 11th 


TOMKINS, P. W. 


Pa 
yA 


228. Sxatine. Stipple Engraving. 


Stipple engraving in color after the design by Hamilton. 
Touched up in color by hand. Good impression in per- 
fect condition. 

Curimps ArounpD A BonrFIRE., 
Stipple engraving, touched in color. 
Framed. 
Together, 2 pieces. 


CHARLES TURNER 


Charles Turner, one of the most eminent English engravers, was born at 
Woodstock in 1773. He entered the “Academy” in 1795 and at first 
worked for Boydell in Bartolozzi’s style. Afterwards he turned his at- 
tention to mezzotint. He was particularly successful as an interpreter 
of the painter, Turner, for whom he engraved twenty-three numbers 
of the Liber Studiorum. In 1828, having already been appointed mezzo- 
tint engraver in ordinary to the King, he was elected associate engraver 
of the Royal Academy. He died in London in 1857. 


TURNER, CHARLES 


229. LonpoN FROM GREENWICH. Mezzotint. 


Rawlinson, No. 26. 

Engraved in mezzotint by Charles Turner OvER THE oRIG- 
INAL ETCHING BY J. M. W. Turner. First state. SpLEN- 
DID IMPRESSION. Surface and condition perfect. With 
original margins. 


“IT have already alluded to this distant view of London delightful 
alike in Mr. Fawkes’ brown picture and in the print which is taken 
with little alteration from it. In both we are attracted by the 
pleasant knolls and grassy slopes of the park in front, by the gleaming 
reaches of river beyond with white sails dotted all about, and by the 
fine rendering of the great city on the horizon, its very smoke made 
to enhance its beauty.”—w. G. RAWLINSON. 


TURNER, CHARLES 


230. WasHincton Irvine. Mezzotint. 


Whitman, No. 275. 

Engraved after the painting by G. Stuart Newton. Uwn- 
DESCRIBED TRIAL PROOF BEFORE THE FIRST STATE. PRooF 
BEFORE ALL LETTERS. BRILLIANT IMPRESSION. Surface 


and condition good. Plate lines strengthened. Margin 
1 to 2 inches all around. 


Second Session, Wednesday Evening, April 11th 


TURNER, CHARLES 
231. CHarues I. as Prince. Mezzotint. 
Whitman, No. 470. 
[0 a Engraved after the painting by Delaram. First srare. 
PROOF BEFORE ALL LETTERS. VERY FINE IMPRESSION. 


Surface and condition perfect. Margin 14 to 1 inch all 
around. 


UNKNOWN ENGRAVERS 


UNKNOWN ENGRAVER 


232. Mrs. Cuivre as Puiniuma. Mezzotint. 
Smith, No. 19 (page 1682). 


7S et ENGRAVER’S PROOF BEFORE ALL LETTERS. SUPERB IM- 

4 . e e 

Ease PRESSION. Perfect surface and condition. Margin 14 
AL inch all around. Unique print; Chaloner Smith mentions 


but one known impression, and that one clipped. 


4 f ( “The workmanship of this print is admirable, the style of Van 
Bleeck has some slight resemblance to it.”—s. CHALONER SMITH. 


[See Reproduction | 


UNKNOWN ENGRAVER 


233. OxtiverR CromweELy. Mezzotint. 
Smith, page 1684, No. 26. | 
Engraved after the painting by Sir Peter Lely. First 
sTATE, before the change of address. VERY FINE IMPRES- 
ston. Surface and condition very good. Cut on the 
plate-line and margin reinforced. EXTREMELY RARE. 
Only three impressions of this state known. 
“The execution of this plate is much superior in delicacy and effect 


to the prints engraved by J. Sympson, but possibly it may have been 
done by him.”—s. c. sMITH. 


UNKNOWN ENGRAVER 


234. Tuomas Orway. Mezzotint. 
Smith, page 1668, No. 95. 
7 Engraved after the painting by Sir Peter Lely. Srconp 


2) 


MEZZOTINT 


PHILLIDA 


232] 


CLIVE AS 
[ No. 


UNKNOWN ENGRAVER 
Mrs. 


Second Session, Wednesday Evening, April 11th 


[No. 234—Continued ] 
sTATE, before the address was changed. Good impression. 
Surface and condition fair. New margin added in places. 


“Born in Sussex, 1651; first tried the stage, but not succeeding in 
it, devoted himself to writing for it; amongst his plays were the 
great favorites, the Orphan, and Venice Preserved. He died.in a 
very distressed state in 1685.”—s. c. smITH. 


UNKNOWN ENGRAVER 


235. JANE SuHoreE. Stipple Engraving. 
SCRATCHED LETTER PROOF before title and artist’s name. 


[d oe, SPLENDID IMPRESSION, IN PERFECT conpITIon. Margin 
1/16 inch all around. 


UNKNOWN ENGRAVER 


236. JANE SHorE. Mezzotint. 
Not in Smith. 
Ss Engraved probably by Sir Christopher Wren. Proor, 
/ $= merely with title of personage. Good umpression. Condi- 
tion perfect, except for one small mended spot. Ex- 
TREMELY RARE. 


UNKNOWN ENGRAVER 


237. Cuarues I, wirn Henrietta anp Cuitpren. Mezzotint. 
Smith, page 1652, No. 20. 
Engraved after the painting by Sir Anthony van Dyck. 
/ §- Onxy state. Good impression in perfect condition. 
From the collection of John Barnard. 


UNKNOWN ENGRAVER 
238. WintiAM SHAKESPEARE. Mezzotint. | 
Engraved by an unknown artist after the Chandos por- 
trait. Perhaps a copy of the Cousins mezzotint, inas- 
| A much as it is almost the same size. Proof before letters 
/ J on India paper. Surface and condition perfect. With 
margins. 


Second Session, Wednesday Evening, April 11th 


UNKNOWN ENGRAVER 


239. Francis Bacon. Engraving. 


Engraved by an unknown artist, probably after the print 


/ conpiTion. Margin %% inch all around. 
RARE, 


From the Ambrose Firmin-Didot collection. 


UNKNOWN ENGRAVER 


240. Sir THomas Kiniicrew. Engraving. 


by Simon de Passe. SPLENDID IMPRESSION IN PERFECT 
VERY FINE AND 


Engraved by an unknown hand, probably in imitation of 


Abraham Bosse’s portrait. Fair impression, in fair con- 
dition. The inscription, in twenty-four lines, beginning 


“Foole that I was who had so faire a State,” has a very 


pointed moral. 


UNKNOWN ENGRAVER 


241. Portrair oF A GERMAN Prince. Engraving. 


Unfinished trial proof with the design for the border 


drawn upon the margin, perhaps by the artist. 
iF by an unknown artist, perhaps Kilian. Fine impression 


| IN PERFECT CONDITION. 


Engraved 


From the Ambrose Firmin-Didot and Julian Marshall col- 


lections. 


UNKNOWN ENGRAVER 
242. Apam anp Eve. Engraving. 


PROOF BEFORE ALL LETTERS. SPLENDID IMPRESSION IN 


PERFECT CONDITION. 
Framed. 


UNKNCWN ENGRAVER 


243. Portrair or A Man. Mezzotint. 


PROOF BEFORE ALL LETTERS. FINE IMPRESSION. 


Surface 


and condition perfect. Margin 14 to 1 inch all around. 


Second Session, Wednesday Evening, April 11th 


UNKNOWN ENGRAVER 


244. Samvet Burrer. Mezzotint. 
Not in Smith. 
ee Engraved after the painting by Sir Peter Lely. Pub- 
- lished by Thos. Bowles. Good impression. Surface and 
condition fair. Mended printing crack at top. Margin 
1/, to 1 inch all around. 


Kirry (Ciive) Fieecine THE Oxtp Jew. Mezzotint. 
Published by Carrington Bowles. Lettered impression. 
Fair surface and condition. 


Together, 2 pieces. 


UNKNOWN ENGRAVER 


245. Tuomas, ARCHBISHOP OF CANTERBURY. Mezzotint. 
Published by E. Cooper. Fair impression, IN PERFECT 
/{ a coNpDITION. Margin 1% inch all around. 


Witiiam WycuHerwey. Mezzotint. 
Published by John Bowles. Good impression, IN PERFECT 
conpition. Margin %%4 inch all around. 


Together, 2 pieces. 


UNKNOWN ENGRAVER 


246. Rocuester anp His Mistress. Mezzotint. 
PROOF BEFORE ALL LETTERS. VERY FINE IMPRESSION, IN 
/ / PERFECT CONDITION. Margin 14 inch all around. 
a 


Tue Movusrt Trap. Mezzotint. 
Engraved by M. Verkolje after ‘the painting by Gerard 
Douw. Good impression, cut on the plate-line. 


Together, 2 pieces. 


UNKNOWN ENGRAVER 


247. QuEEN EizaspetH. Engraving. 
Published by Paul de la Honne. VERY FINE IMPRESSION, 
in perfect condition. Margin 1/16 inch all around. 


' 
} QuEEN EvizasetH. Engraving. 
By an unknown artist. Oval, with motto, “Posui Deum 
adiutorem meum.” Fair impression, in good condition. 


Second Session, Wednesday Evening, April 11th 


[ No. 247—Continued | 


QurEEN EizaBeTH IN PARLIAMENT. Engraving. 


FINE IMPRESSION, with inscription. 
Together, 3 pieces. 


UNKNOWN ENGRAVER 


248. Ropert Devereux, Eart or Essex. Engraving. 


Published by Compton Holland. Good impression, with 


inscription. ConpiTIoN PERFECT. Margin 14 inch all 


around. 
From the John Young Collection. 


ARBELLA STEWART. Engraving. 


Engraved by I. W. Set. Good impression, with inscrip- 


tion. Conpirion PERFECT. Cut outside plate-line. 


Together, 2 pieces. 


WALLERANT VAILLANT 


Dutch engraver. Born at Lille in 1623; died at Amsterdam, 1677. 


He was 


the friend and plate printer of Prince Rupert, reputed inventor of the 
process of mezzotint, and he was one of the first to work in the medium. 
Vaillant was one of the first to practice the new art of mezzotint engraving. 


VAILLANT, WALLERANT 


249. Rrapinc A LetrerR. Mezzotint. 


Wessely, No. 183. 
\ 7 


FIRST STATE, before the engraver’s name. 


Engraved after the painting by- Gerars. 


UNDESCRIBED 
Goop IMPRES- 


sion. Fair surface. PERFECT conpiTION. | Cut just out- 


side the plate-mark. Finer anp Rare. 


VAILLANT, WALLERANT 
250. CuHaruEes I]. Wuen a Boy. Mezzotint. 


Signed on the plate,—“W. Vaillant fec. eb exc.” Fine 
impression. Surface good. ConpiTIon PERFECT. Cut 
just outside the plate-mark. 


Second Session, Wednesday Evening, April 11th 


GERARD VALCK 


Dutch-engraver. Born at Amsterdam about 1626; died there, 1720. He 
was first a servant to Blooteling, but having married his master’s sister, 
was instructed in engraving, and taken into partnership. 


VALCK, GERARD 


251. Witutam III. or Orance. Engraving. 
Signed on the plate,—“‘Gravé par Gerard Valck.” PRroor 
30 a BEFORE TITLE. SPLENDID IMPRESSION IN PRACTICALLY 
i PERFECT CONDITION. Cut on plate-line. 


VALCK, GERARD 


252. OrrancE Mancuini, Ducuess or Mazarin. Engraving. 
Engraved after the painting by Sir Peter Lely. Signed 
“a on the plate,—“G. Valck sculp. et eacud. 1678.” 
a FINE IMPRESSION IN PERFECT CONDITION. Cut on the 
plate-line and remargined. 


VALCK, GERARD 


253. OrtranceE Mancuini, Ducuess oF Mazarin. Engraving. 
Engraved after the painting by Sir Peter Lely. Proor 
BEFORE ALL LETTERS. SUPERB IMPRESSION IN PERFECT 
conpiTion. Margin 1/16 inch all around. 
From the collection of Alfred Hubert and another un- 
known to Fagan. Re 


PIETER VAN BLEECK 


Dutch painter and engraver, son of a portrait painter, was at the Hague 
in 1695. He went to London in 1723, where he was much employed, and 
died there in 1764. 


VAN BLEECK, PIETER 


254. Porrrair or A Man 1x Darx Croax anp Hart. Mezzotint. 
Not in Smith. 

PRooF BEFORE ALL LETTERS. RICH IMPRESSION IN PER- 
FECT CONDITION except for one small thin spot. Margin 
1g inch all around. 


at a 
Ld 


Cd >> 


Second Session, Wednesday Evening, April 11th 


CORNELIS VAN DALEN 


Engraver at Antwerp. Born about 1620. Pupil of his father and Cor- 
nelis Visscher. 


VAN DALEN, CORNELIS 


255. Prerro AreEtTino. Engraving. 

Andresen, No. 8. 
fa Engraved after the painting by Titian. Firsr stare, 
| PROOF BEFORE ALL LETTERS. SPLENDID IMPRESSION IN 
PERFECT conpiT1on. Margin one inch all around. Very 
FINE. 


VAN DALEN, CORNELIS 


256. Giorcio BarBARELLO (GIoRGIONE DA CASTELFRANCO). En- 
graving. 
Andresen, No. 10. 
Engraved after the painting by Titian. First stare, 
PROOF BEFORE ALL LETTERS. SPLENDID IMPRESSION— 
PERFECT CONDITION. Margin one inch all around. Fine. 
From the collection of F. W. Klever. 


VAN DALEN, CORNELIS 


257. SEBASTIANO DEL Piomso. Engraving. 
Andresen, No, 11. 
Engraved after the painting by Tintoretto. First stare, 
PROOF BEFORE ALL LETTERS. SPLENDID IMPRESSION IN 


PERFECT CONDITION. Cut just inside the plate-mark. 
FINE. 


VAN DALEN, CORNELIS 


258. Boccacio. 
| Le Blanc, No. 22. 
Sf Engraved after the painting by Titian. Proor BEFORE 
ALL LETTERS. SUPERB IMPRESSION IN PERFECT CONDITION. 
Margin 14 inch all around. Mounted down for framing. 


5 
6 


Second Session, Wednesday Evening, April 11th 


CRISPIN VAN DE PASSE, THE ELDER 


Dutch line engraver. Born in 1540; died at Utrecht, 1629. He was a pupil 
of Coornhaert and worked in Holland, France, and England. 
VAN DE PASSE, CRISPIN, THE ELDER 


259. QuEEN EnizaznerH. Engraving. 
Engraved after the design by Isaac Olivier. Fine 1m- 


VERY RARE. 
From the Collections of William Esdaile and E. G. Ken- 
nedy. 


ee PRESSION in very good condition. Cut on the plate-line. 


VAN DE PASSE, CRISPIN, THE ELDER 


260. ExizasetH or Eneiann. Engraving. 
Splendid impression with inscription. Condition immacu- 
late. Margin 114 to 3 inches all around. Very FINE. 
From the Brooke and St. John Dent Collections. 


EizABETH OF ENGLAND. Engraving. 
ANA Engraved by an unknown artist. Oval picture with the 
a motto “Posi w Deum Adiutorem meum.” Good impres- 
sion, in good condition. 
From the Capt, Donnadieu Collection. 


Together, 2 pieces. 


SIMON VAN DE PASSE 


Dutch line engraver. Born in Cologne in 1574; died, 1644. He was son 
and pupil of Crispin, the elder, and worked in France, Germany, England, 
and Denmark. 


VAN DE PASSE, SIMON 


261. Rosert Sipney, Viscount Lisye. Engraving. 
SPLENDID IMPRESSION with inscription. First stare. 
Condition very good. Cut on the plate-mark. Very 
i/\~ FINE AND RARE. 
H if On the back of the print is written,—‘From Strawberry 
i Hill,” implying, perhaps, that it was formerly in the pos- 
session of Horace Walpole. 


a ‘S 


Second Session, Wednesday Evening, April 11th 


VAN DE PASSE, SIMON 


262. Henry, Eart or SourHamrptTon. Engraving. 
SPLENDID IMPRESSION with inscription. CoNpDITION PRAC- 
TICALLY PERFECT. A few slight thin places. Fine anp 
RARE. 
From the collection of Joseph Crawhall. 
Henry, Earl of Southampton, patron of Shakespeare, 
was born in 1578 and died in 1624. 


VAN DE PASSE, SIMON 


263. Maria, Inranra oF Sparin. Engraving. 
VERY FINE IMPRESSION with inscription. CoNDITION PER- 
FECT. Cut on the plate-line. 


a Tue Princess WILHELMINA. Engraving. 
Printed by Crispin de Passe. Good impression with in- 
scription. ConpITION PERFECT. Cut outside plate- 
mark on side, and inside at top and bottom. 
Together, 2 pieces. 


VAN DE PASSE, SIMON 


264. Epwarp SomersET, Eart or Worcester. Engraving. 
Fine impression with inscription. CONDITION PERFECT. 
Cut on the plate-line. 


Pore CriemenT VIII. Engraving. 
} Fine impression with letter. Conprrion PERFECT. Mar- 
IY gin 4 inch all around. 


ure 
h 


Francis Bacon. Engraving. 
FINE IMPRESSION with inscription. CoNDITION PERFECT. 
Margin 1/16 inch all around. 
Together, 3 pieces. 


Second Session, Wednesday Evening, April 11th 


JOHN VANDERVAART 


Born at Haerlem, 1647, went to England in 1674, Practised as a painter 
with Wyck and Wissing, afterwards produced very excellent pictures. 
He was one of the early engravers in mezzotinto. He died in 1721. 


VANDERVAART, JOHN 


265. Str THomas Kitiuicrew. Mezzotint. 
Smith, No. 4. 
Engraved after the painting by W. Wissing. First 
sTATE, before the publisher’s name was changed. SpLeNpID 
0) RS IMPRESSION. Surface and condition perfect. Cut out- 
side plate-mark. 
“Born 1611; page of honor to Charles I and groom of the bed- 
chamber to Charles II, whom he accompanied in exile. He was the 


author of several plays and possessed uncommon wit and humor. He 
died in 1682.”—s. c. smITH. 


LUCAS VAN LEYDEN 


Born in Leyden in 1494; died in 15383. His engravings rank with those of 
Marc Antonio and Albert Diirer. 


VAN LEYDEN, LUCAS 


266. Apam anv Eve. Engraving. 

Bartsch, No. 11. 
Signed on the plate with the monogram,—“L.””, Engraved 

3 J — after his own design in 1510. Fine impression, on paper 
watermarked with “The Serpent.” Cut slightly inside 
the plate-mark at the top. Margins reinforced. Con- 
dition otherwise perfect. 
From the collection of Louis Galichon. 


ADRIAEN VAN OSTADE 


Dutch painter and etcher. Born at Haerlem in 1610; died there in 1685. 
Studied with Frans Hals and was influenced by Rembrandt. 

“Ostade treats the technique of etching in a curious painter-like manner. 
He avoids the distinct line and the definite contour, he expresses the 
modelling with masses of uneven little strokes and shows his figure, well 
lighted against a dark background.”’—xnristerier, in “Kiipferstich und 
Holzschnitt.” 


VAN OSTADE, ADRIAEN 
267. Rustic Courtsnip. Etching. 
Bartsch, No. 11. 
Hf } ie Fine impression of the state after the S. of Ostade was 


f 


pies 


Second Session, Wednesday Evening, April 11th 


[ No. 267—Continued | 


written with a Latin letter. Conpirion PERFECT. Mar- 
gin 14 inch all around. 
From the collection of the Duke of Buccleugh. 


PAUL VAN SOMER 


Engraver, born at Amsterdam in 1649. After working for some time in 
Paris he came to England, where he settled and died in 1694. He etched, 
engraved, and was one of the first to practice mezzotint. 


VAN SOMER, PAUL 


268. Hortrenst, Ducuess or Mazarin. Mezzotint. 
Smith, No. 7. ; 
SPLENDID IMPRESSION. Surface and condition fair. Cut 
on the plate-line. VERY RARE. 


VAN SOMER, PAUL 


269. Louise, DucHress or PortrsmoutH. Mezzotint. 

Smith, No. 14. 

Engraved after the painting by Sir Peter Lely. First 
STATE, PROOF BEFORE ALL LETTERS. SPLENDID IMPRES- 
sion. Surface and condition perfect. Cut just outside 
plate-mark. Very fine. 

Louise Renée de Queronalle was of a noble family in Brit- 
tany. She attracted the attention of Charles IL. and was 


45 brought to Whitehall (with the connivance of the Duke 


of Buckingham and others who wished to supplant the 
Duchess of Cleveland), and appointed maid-of-honor to 
the Queen. In 1672 she had a son by Charles, and in 1673 
was created Duchess of Portsmouth. Her power over 
Charles only ceased with his life and her extravagance 
was boundless. Much of the popularity of Nell Gwyn 
while mistress to the king was attributable to the aver- 
sion caused by her rival, the Duchess of Portsmouth. 


Second Session, Wednesday Evening, April 11th 


LUCAS VAN UDEN 


Lucas van Uden, of the School of Flanders, was born at Antwerp in 1595. 
He was the son of a painter, who was his first master and whom he very 
quickly surpassed. 

“Van Uden has a delicate touch, and his foliage a great deal of move- 
ment. His landscapes usually show a great extent of country, with clear 
skies and distances. . . . 

“The prints which this painter has left us and which are usually landscape 
subjects have all the qualities of his pictures. The exact number of his 
plates has not been determined. It is the rarest thing in the world to find 
any considerable number of them together. The greatest collections contain 
only about twenty or at the most thirty pieces.”—sarrscH. 


VAN UDEN, LUCAS 


270. Lanpscapre. Etching. 


's 


Bartsch, No. 5. 

Signed on the plate,—‘‘Lucas Van Uden fecit.” Fine 
IMPRESSION IN PERFECT CONDITION. 

From the Gawet and Rechberger collections. 


LanpscaPr. Etching. 
Bartsch, No. 19. 
Unsigned. Firsr srarr, before the number. Fine 1n- 
PRESSION in very good condition. One slight mended 
tear. 


Together, 2 pieces, 


AGOSTINO VENEZIANO 


Italian engraver, born at Venice in 1490. He was a pupil of G. Cam- 
pagnola, but afterwards formed his style on that of Ditirer and Marcan- 
tonio. He died at Rome about 1540. 


VENEZIANO, AGOSTINO 


271. Ture Deatu or Anantas. Engraving. 


Bartsch, No. 42. 
Engraved after the design by Raphael. Goop IMpREssIon, 
IN PERFECT CONDITION. Cut just outside the plate-line. 


4 From the M. M. Sykes, W. Esdail, J. Thorel and A. 


Firmin-Didot collections. 

Together with a late impression from the same plate, and 
the engraving, “La Bataille an Bouclier sur la Lance,” 
by Caraglio after Raphael (Bartsch, No. 59), in a late 
impression. 


Together, 3 pieces. 


Second Session, Wednesday Evening, April 11th 


JAN VERKOLJE 


Dutch engraver. Born at Amsterdam in 1650; died, 1693. He worked 
mostly at Delft, where he produced mezzotints. 


VERKOLJE, JAN 


272. Tue Ducuess or Grarron. Mezzotint. 

Smith, No. 1. 

Engraved after the painting by Sir Peter Lely. First 
——_ sTATE, before the name, P. Lely, was erased. Ricu Im- 
PRESSION. FINE SURFACE AND CONDITION. One or two 
slight printer’s folds. Cut on the plate-line and margins 
strengthened. Of the utmost rarity; Smith speaks of 
only one in existence. 


GEORGE VERTUE 


English historical engraver and mezzotinter. Born, 1684; died at London, 
1756. Devoted his life to antiquarian researches. 


VERTUE, GEORGE 


_ 278. Grorrrey Cuavucer. Engraving. 
Thalys Engraved in 1717. Goop impression. Margin 1/16 to 
J 1g inches. Mounted down for framing. VERY RARE. 


VERTUE, GEORGE 


274, ALEXANDEB Popr. Engraving. 
Signed on the plate,—“Geo. Vertue sculpsit.” Britiiant 
IMPRESSION IN PERFECT CONDITION. Margin 4 inch all 
around. 


eo ABRAHAM CowLey. Engraving. 
Engraved after the painting by Sir Peter Lely. Goop 
IMPRESSION with letters. IN PERFECT coNnDITION. Cut 
on the plate-mark. 
Together, 2 pieces. 


Second Session, Wednesday Evening, April 11th 


W. VINCENT 


An excellent English mezzotint engraver, worked in London in the latter 
part of the 17th century. His plates are frequently from his own designs. 


VINCENT, W. 


275. Mrs. BracrGirDLE IN THE INDIAN QUEEN. Mezzotint. 
Smith, No. 1. 
Published by J. Smith. Onty strate. FINE ImMpREssION. 
a) eat Surface and condition perfect. Margin 1/16 inch all 
cy around. VERY RARE. 
The play of the Indian Queen was written by Sir Howard 
and Dryden and met with great success. 


VINCENT, W. 
276. Mrs. Bracecirpie. Mezzotint. 
Smith, No. 2. 
Engraver’s proof before the title, The Indian Queen. 
7 at FINE IMPRESSION IN PERFECT CONDITION. Cut perhaps 


3) 


inside plate-mark. ExcrsstvELY RARE, only one other 
impression known to Smith. 


CORNELIS VISSCHER 


One of the most eminent engravers, whose plates rank among the best 
productions of the graver. Born, about 1629; died, 1658. Pupil of Pieter 
Soutman. 


VISSCHER, CORNELIS 


277. Corneuis VisscHER. Engraving. 
Smith, No. 84. 
Engraved after his own design and signed on the plate,— 
4] b i “Corn. Vischer fecit An. 1649.” Srconp state, with the 
a graver effaced. VERY FINE IMPRESSION IN PERFECT CON- 
pition. Margin 1/16 inch all around. 


~~ 


Second Session, Wednesday Evening, April 11th 


VISSCHER, CORNELIS 


278. LievEN vAN CoprENoL. Engraving. 


Smith, No. 93. 7 

Engraved from life. Fre IMPRESSION WITH INSCRIPTION. 
Tuirp sTaTE, before the date 1658 was effaced. Margin 
cut slightly inside the plate-mark. It is interesting to 
compare this with Rembrandt’s etching of the same sub- 
ject. 

From the collections of Pierre Mariette, 1698, and J. 
Burleigh James. 


VISSCHER, CORNELIS 
279. Heap or an Otp Woman. Etching. 


Smith, No. 129. é 

Signed on the plate,—“Cornelius de Vesscher ad vivum 
delineant et fecit aqua forte.” GooD IMPRESSION IN PER- 
FECT CONDITION. Cut on the plate-line. 

Tradition has it that this is a portrait of Visscher’s 
mother. 


JAN VISSCHER 


Dutch engraver. Brother of Cornelis Visscher. Born at Amsterdam in 
1636, where he lived in 1692. 


VISSCHER, JAN 


f \ 


/) 


V/ 


280. Porrrair or AN OLtp Woman (Visscher’s Mother?). Etching 


y 


Etched after the design by Cornelis Visscher. SPpiLEeNpip 
IMPRESSION IN PERFECT CONDITION. Cut outside the 
plate-mark. 

From the collection of the engraver Jean Georges Wille, 
and bearing his autograph,—‘J. G. Wille 1761.” 


, of 


Second Session, Wednesday Evening, April 11th 


LUCAS VORSTERMAN 


Flemish engraver. Born in Antwerp in 1578; died about 1656. He first 
studied painting under Rubens and was advised by him to take up the 
practice of engraving. This he did with such success that he became 
one of the leading engravers of the Rubens school. 


VORSTERMAN, LUCAS 


281. Joannes Waverivus. Engraving. 
Engraved after the painting by Hans Holbein. VeEry 


f- FINE IMPRESSION with letters. PERFECT CONDITION. 
Margin 1% inch all around. 


VORSTERMAN, LUCAS 


282. THomas Howarp, Duke or Norrouk. Engraving. 
Engraved after the painting by Hans Holbein. TxHirp 
STATE. SPLENDID IMPRESSION. PERFECT CONDITION. 
Margin 1/16 inch all around. Of unusual quality. 


/d a From the collections of T’. Huber and Ambrose Firmin- 
Didot. 


WILLIAM WALKER 


Scotch engraver. Born in Midlothian in 1793; died in 1867. Studied under 
John Mitchell, Woolnoth and Thomas Lupton. He published his own plates. 


WALKER, WILLIAM 


283. Sir Watrer Scorr. Engraving. 
Engraved after the painting by Raeburn. Proor, with 
coat-of-arms, but before all letters. SpLeENDID IMPRES- 
SION ON INDIA PAPER WITH FULL MARGINS. VERY FINE 
AND RARE. 
i) a The engraver commissioned the painter to make this por- 
trait of Scott. 


ae 


Second Session, Wednesday Evening, April 11th 


JAMES WATSON 


“James Watson, born at Dublin about 1740, also learned from McArdell 
the true pictorial way of mezzotint, which, with facile craftsmanship, 
enabled him to become very early in his career one of Reynolds’s most 
faithful and frequent interpreters (it is curious to note that Watson was 
selected to engrave Reynolds’s portraits of mothers with their children). 
His touch was delicate rather than vigorous, and his sense of tone was 
keen for rich as for simple harmonies. An assiduous worker, he was so 
scrupulous as to the quality of his work, that if it did not satisfy him he 
would destroy the plate and start a fresh one. Consistency of quality 
therefore stamped the numerous plates of James Watson, as prosperity 
brightened his home, till he died in the very prime of his powers; but in 
nothing was he happier than in his gifted daughter Caroline, who holds 
among the stipple engravers as distinguished a place as her father does 
among mezzotinters.”—m. c. saLAMAN, Old English Mezzotints. 


WATSON, JAMES 


284. Frances, Lapy Brincrs. Mezzotint. 
Smith, No. 14. 
Engraved after the painting by F. Cotes. STATE INDETER- 
MINATE. Trimmed to engraved surface, and new lower 
margin added. VERY FINE IMPRESSION. Surface good. 


WATSON, JAMES 


285. SamuEL JouHnson. Mezzotint. 
Smith, No. 82. 
Engraved after the painting by Sir Joshua Reynolds. 
First state, before the title and the address. SpLENDID 
IMPRESSION. Surface and condition practically perfect. 


peas Margin 1 inch all around. V&Ry FINE AND RARE, 
' if 2 “This is also a highly characteristic and remarkable portrait”— 
pa ee J. C. SMITH. 


Johnson did not relish Reynolds painting him as extremely near- 
sighted, and said to Boswell,—“Sir, he may paint himself as deaf as he 
chooses, but I will not go down to posterity as Blinking Sam.” 


[See Reproduction | 


JAMES WATSON. MEZZOTINT 
SAMUEL JOHNSON 


[ No. 285] 


Second Session, Wednesday Evening, April 11th 


THOMAS WATSON 


Mezzotint engraver. Born in London in 1748; died at Bristol, 1781. Ap- 
prenticed to an engraver on plate. For a time he kept a printshop in 
partnership with W. Dickinson. His name is one of the most distinguished 
of the English mezzotint engravers. 


WATSON, THOMAS 


286. Frances, Ducuess or RicuymMonp. Mezzotint. 
Smith, No. 5. 
Engraved after the painting by Sir Peter Lely. Srconp 
sTATE, before the name of the personage. VERY FINE IM- 


Pe 4 PRESSION. Surface and condition very good. Margin 
A 4 2 1/16 inch all around. Number three of a set of six 
- 7 ‘Beauties of Windsor,” painted by Sir Peter Lely. 


“Daughter of Walter Stewart; appointed maid of honor to Queen 
Catherine in 1663. Her wonderful loveliness seriously captivated 
Charles II and many others, amongst them Rotier, the medallist, 
who came over to cut the die for the new carriage and exhibited her 
head on the reverse as Britannia. She, however, eloped with the 
Duke of Richmond and Lennox in 1667. 

“About two years after her marriage she was attacked by small-pox 
and recovered with difficulty. . . The King frequently visited her 
after her marriage, but merely in courtesy; . . . The Duchess appears 
to have divided the latter part of her life between cards and cats 
and died in 1702.”—s. c. smITH. 


JOHN WATTS 


An English mezzotint engraver who practised in London from 1770 to 
1786. He was probably also a printseller. 


WATTS, JOHN 
287. NaTHANIEL Lee (THE Map Poer). Mezzotint, 


Smith, No. 5. 
Va Engraved after the painting by Dobson. Onty strate. 
( Goop IMPRESSION. Surface and condition good. Margin 


‘8 cut just inside plate-line, and print completely laid down. 


ETCHING 


ES ABBOTT McNEILL WHISTLER 


JAM 


THe LIMEBURNER 


o. 288 | 


N 


[ 


Second Session, Wednesday Evening, April 11th 


JAMES ABBOTT McNEILL WHISTLER 


Celebrated American painter and etcher. Born in Lowell, Mass., in 18384, 


died at London in 1903. 


“With the master-etchers of the world—Meryon’s equal in some respects, 


and, in some respects, Rembrandt’s—there stands James Whistler. 


noisseurs in France and England, in America, Holland, Bavaria, concede 


this now.”—FREDERICK WEDMORE. 


“All his work is alike perfect. It has only been produced under different 
circumstances and is an attempt to render different effects or situations. 
Therefore the methods vary, but the results are always the same—great. 
The greatest, most perfect, as a whole, that any etcher has ever accom- 


plished.”—sosEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 


288. THe Limesurner. Etching. 


Kennedy, No, 46. 

Signed on the plate,—‘Whistler 1859.” First srTate, 
before the light perpendicular lines to the right of the 
figure. SOFT MELLOW IMPRESSION. Condition very 
good. Surface of paper slightly. broken by printing 
cracks. One inch margin all around. VeERyY FINE AND 
RARE. 

One of the most beautiful of Whistler’s plates and probably the 
earliest example of a system of composition which became very 
characteristic of him—that of a vista-seen through a frame. Later 
examples of it are: The Traghetto, The Beggars, Doorway and Vine, 
San Biagio, and perhaps the last and frankest expression of all, 
The Garden. In these plates the foreground and middle distance 
are treated as an elaborate frame, for the most part in shadow, 


through which is seen a small and unusually brilliantly lighted dis- 
tance.”—FREDERICK KEPPELL. 


[ See Reproduction] 


WHISTLER, JAMES ABBOTT McNEILL 


289. RorHeruHitHe. Etching, 


Kennedy, No. 66. 

Signed on the plate,—Whistler 1860.” Srconpd stTATE, 
before additional lines on the figure and the bow of the 
boat. SUPERB IMPRESSION ON THIN JAPAN PAPER. Mar- 
gin Y4 inch all around. ExcrErpiIncLy FINE. 


“This plate was made on the balcony of the Angel Inn, still stand- 
ing on the south side of the river at Cherry Gardens. Rotherhithe 
is in the extreme distance. From this balcony also, the oils, Wapping, 
and The Thames in Ice, were painted. A scratch across the sky is 
in some prints. Whistler told me this was caused by a brick from 
the chimney being repaired falling behind him and making him jump 
so that he scratched the plate with his needle from top to bottom.”— 
JOSEPH PENNELL. 


[See Reproduction | 


nat 


ial 


eee 


JAMES ABBOTT McNEILL WHISTLER. ETCHING 
RoTHERHITHE 


[No. 289] 


Second Session, Wednesday Evening, April 11th 


WHISTLER, JAMES ABBOTT McNEILL 


290. Barrersea Bripcr. Etching. 

Kennedy, No. 177. 

Signed on the plate and in pencil with the “Butterfly.” 

FourtH state before the smaller butterfly was put in. 

IMPRESSION PRINTED BY WHISTER HIMSELF AND SO SIGNED 

BY HIM WITH A CAREFULLY DRAWN “BUTTERFLY AND THE 

worp “imp.” A very slight fold in the center. VERY 

atte RARE AND FINE. 

“Il se mit tout simplement a reproduire a Veau-forte les scenes 
que les rives de .la Tamise mettaient sous ses yeux. En haut de la 
riviere, les vieux ponts de Putney et de Battersea, les appontements et 
les magasins ou se déchargent les marchandises, lVenfilade des alleges 
et des gabares a sec sur la rive; plus bas, vers le port maritime, 
les navires amarrés le long des docks ou les bateaux de peche apportant 
le poisson au grand marché de Billingsgate. Chose singuliére! les 
bords de la Tamise ainsi reproduits frappérent d’abord le public 
anglais, par un coté d’imprévu et de nouveaute. Les artistes anglais 
avaient négligé d’abaisser les yeux sur cet aspect familier des choses; 


le Londres, bati et affairé avait été méconnu comme vulgaire et 
prosaique.”—rHEopoRE DURET,—‘Whistler et son Ciwore.” 


[See Reproduction | 


ROBERT WHITE 


Born in London, 1615; died at Bloomsbury, 1704. Pupil of David Loggan. 


WHITE, ROBERT 


291. Joun, Eart or Rocuestrer. Engraving. 
Engraving after the painting by Sir Peter Lely. Fine 
Fe IMPRESSION WITH LETTERS. In perfect condition. One inch 
| #4 


34 U margin all around. 


JEROME WIERLX 
Born at Antwerp or Amsterdam, 1551; died in 1619. He is supposed to 


have learned the art of engraving from his brother Jan, whose style he 
followed so exactly that it is difficult to distinguish their work. 


WIERIX, JEROME 


292. Henry III. or France. Engraving. 


WA Signed on the plate,—‘‘Teronimus W. fe.” SPLENDID IM- 
i PRESSION IN PERFECT CONDITION. Cut outside plate- 
nf < 4 
as mark. VERY FINE AND RARE. 


) 
| 
[See Reproduction | 


[062 ‘ON | 


aoqiugd Vas YALLIV GE 


ONIHOLA “YALLSIHM TITINON LLOddvy SHINVL 


Second Session, Wednesday Evening, April 11th 


SIR DAVID WILKIE 


Scotch painter and etcher. Born at Cults in 1785; died in 1841. He early 
displayed his talent for portraiture and painting and by rapid degrees 
became one of the most distinguished painters of his day. At the death 
of Sir Thos. Lawrence he was appointed Painter in Ordinary to the King. 


WILKIE, DAVID 
293. ReapiInc THE Wixi. Etching. 


Laing, No. 6. 
Signed on the plate-—“DW 1819.” FINE IMPRESSION ON 
\Z Inpia PAPER. Condition perfect. Margin 1% inch all 
LD around. 


Cotrace Exterior. Etching. 
Laing, No. 4. 
Signed on the plate-—‘D W 1820.” Five ImMpreEssion 
on Inpia PAPER. Condition perfect. Margin 14 to %4 
inch all around. | 
Together, 2 pieces. 


WILKIE, DAVID 


294. MorHer anp Cuixtp. Etching. 
Laing, No. 9. 
Signed on the plate,—“D W 1820.” Impression on Iy- 
nye DIA PAPER, with full margins. __ 

/) l) Tue Lost Recerer. Dry-point. 

co Laing, No. 7. 
REMARQUE PROOF ON INDIA PAPER with full margins. In 
PERFECT CONDITION. 
Together, 2 pieces. 


JEAN GEORGES WILLE 


Born near Koenigsberg, 1714-1715; died at Paris, 1808. 

“His prints bear dates from 1738 to 1790, after which time he became blind. 
He was the teacher of Bervic, J. V. von Miller, Tardieu, and other eminent 
engravers.”—w. 0. CHAPIN. 


WILLE, JEAN GEORGES 


295. La Sorur pE LA Femme pE Normanpige. Engraving. 
| Le Blanc, No. 72. 
wa Engraved after the painting by his son, P. A. Wille. 
ic ) PROOF BEFORE ALL LETTERS. BRILLIANT IMPRESSION IN 
PERFECT CONDITION. Margin 14 inch all around. Very 
FINE. 


ELROD ERENT GILL LILLE LS SEPT TT TTS 


g d a BX 


. 


leures 


les 


15, fur 


all, 


~ 


* 2) 


SOW VIS: 


: 


| fir fon 
A 


Ul 


ob 


IN 


fel 


) 


cs 


Iss 


: dat 


dinout 


et re 


OHS 


JEROME WIERIX 


ENGRAVING 
oF FRANCE 


292 


Henry III 


* 
J 


| No 


Second Session, Wednesday Evening, April 11th 


ROGER (OR ROBERT) WILLIAMS 


Mezzotint engraver, a native of Wales, flourished about 1700-1715. He 
is stated to have studied under Theodorus Freres. 


WILLIAMS, ROGER (or ROBERT) 


296. Cuarues II. Mezzotint. 
Smith, No. 12. 
Engraved after the painting by Sir Peter Lely. Srconp ~ 
STATE, with inscription. VERY FINE IMPRESSION. Sur- 
face very good. Condition perfect. Margin 4 inch all 
around. 


THOMAS WOOLNOTH 


English mezzotint engraver. Born 1785; died after 1836. He engraved 
many theatrical portraits. 


WOOLNOTH, THOMAS 
297. R. Heper, Bishorp or Catcurra. Mezzotint. 
5 Engraved after the painting by Phillips. Earty trian 
/) a PROOF, not completely inked. SPLENDID IMPRESSION IN 
: PERFECT CONDITION. 


THOMAS WORLIDGE 


English painter and etcher. Born in 1700; died at Hammersmith, 1766. 
He abandoned painting and devoted himself to etching, adopting a style 
modelled on that of Rembrandt. 


WORLIDGE, THOMAS 


298. Ninon pE Lencuos. Etching. 
Engraved after the painting formerly in the possession 
Lie of the Countess of Sandwich. Proor BEFORE ALL LET- 
TERS. IN PERFECT CONDITION. Cut on the plate-line. 


WILLIAM LIONEL WYLLIE 


Contemporary English etcher. Born, 1851. His etchings are chiefly boat- 
ing and fishing scenes. 


WYLLIE, WILLIAM LIONEL 


299. Hotuanp. Etching. 
SIGNED ARTIST’s PROOF on Holland paper. Mounted down 
for framing. Full margins. 


Second Session, Wednesday Evening, April 11th 


JOHN YOUNG 


“Another of J. R. Smith’s distinguished pupils was John Young, who was, 
however, senior to the Wards, having been born in 1755. He was a man 
of high attainments and sterling character, with a fine pictorial sense in 
his treatment of copper. Engraver on mezzotint to the Prince of Wales, 
from 1789 he succeeded Valentine Green as keeper of the British Institu- 
tion.”—m. c. saramMAN,—“The Old Engravers of England.” 


YOUNG, JOHN 


300. 


t 801. 


Rosert BrioomFieip. Mezzotint. 
Smith, No, 8. 
Engraved probably after the painting by J. Rising. 
First state, undescribed by Smith. Proof before all let- 


<1) ~ ters. SPLENDID IMPRESSION. Surface and condition per- 


fect. Margin 1% inch all around. Verry FINE AND RARE. 


“Born at Honington, 1766; worked on a farm, and afterward be- 
came a shoemaker, his poem of the Farmer’s Boy was long finding 
a publisher, but on its appearance met with great success. He died 
at Sheffield, 1823.”—~ 3. c. smirH. 


RENIER NOOMS (CALLED ZEEMAN) 


1623-1663. 

“Zeeman was par excellence the etcher of ships as Potter was of horses. 
In his youth he was a sailor, as his name implies, and his love for the sea 
is apparent everywhere in his works. Zeeman worked at Berlin, London, 
and Paris, as well as at Amsterdam. He was in Paris about the middle 
of the seventeenth century and painted a number of views of the city, 
among them his fine view of Old Louvre.”—w. o. cHapin,—‘Master pieces 
of Engraving.” 


Marine. Etching. 
Bartsch, No. 110. 
First stTatrE, before the name. FINE IMPRESSION. 
Slightly folded. Margin 1/16 inch all around. Five 
AND RARE. 
One of a set of 12 etchings. From two collections unknown 


to Fagan. 


WILLEM pvpE ZWART 


Contemporary Dutch etcher. Many of his etchings are published 
Van Wisselingh, of Amsterdam. 


ZWART, WILLIAM DE 


302. THe Barces, Eveninc. Etching. se 
Signed in ink on the margin,—‘W de Zwar 
3 ON JAPAN PAPER, with margins. es) 

\ es SLEEPING Woman. Etching. 
ve Signed in ink on the margin,x—“W de Zone 
ON HEAVY JAPAN PAPER, with ample margins, _ 
Together, 2 pieces. | 


brandt van Rijn and other Masters. 


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